i XIMATSATSA: EXPLORING GENRE IN CONTEMPORARY TSONGA POPULAR MUSIC IGNATIA CYNTHIA MADALANE A dissertation submitted to the Faculty of Humanities, University of the Witwatersrand, Johannesburg, for the degree Master of Arts Supervisor: Doctor Grant Olwage Johannesburg, 2011 ii Abstract While much has been written on black South African popular music (see, for example, Anderson, 1981; Coplan, 1985; Erlmann, 1991; Meintjes, 2003; Allen, 2004; Ansell, 2004; Muller, 2008), little has been written on Tsonga popular music. This dissertation interrogates ‘Tsonga music’, a category for naming Tsonga popular music used by many including the South African Music Awards (SAMAs); one of the few SAMA categories (others include Afrikaans, Venda and Pedi music categories) to be named by ethnicity. I question why the music is labeled the way it is and how these genre labels, which participate in global genre histories and local ethnic histories, interact with the Tsonga music category. In sum, this study explores what Louise Meintjes calls ‘genrefication’ (2003: 19) in popular Tsonga music and the meaning this has for its practitioners in a ‘glocalized’ music market (Robertson, cited in Steger, 2003). In chapter one I trace the origins of Tsonga music as it is known today. The chapter focuses on General MD Shirinda, considered the father of Tsonga music. I write about aspects of his life and the role he played in the development of contemporary Tsonga music. Chapter two pays close attention of one of the Tsonga music subgenres, ‘Tsonga traditional’ or neo-traditional music. The chapter interrogates the meaning of the Tsonga traditional label for its practitioners. Here I question the use of terms such as ‘Tsonga’ and ‘traditional’ for labeling Tsonga music. I end the chapter by discussing some characteristics of this subgenre. The third chapter follows the narrative of ‘Tsonga disco’ as told by my informants. Through the life stories of the musicians who have played major roles in the development of this subgenre, I explore how socio-political circumstances influenced the labeling of the subgenre. The chapter gives attention to the contribution to the subgenre by Paul Ndlovu, Peta Teanet, Joe Shirimani and Penny Penny. I end the chapter with a description of a live performance of Tsonga disco. Ethnicity is a recurring theme throughout the study. However, it is in chapter four that explicit attention is given to this identity marker. The chapter explores the role of ethnicity in shaping Tsonga music and how Tsonga musicians construct and affirm their ethnic and other identities in their music. Finally, I discuss the relationship between Tsonga music and the global music market. iii Declaration I declare that this dissertation is my own unaided work. It is submitted for the degree of Master of Arts at the University of the Witwatersrand, Johannesburg. It has not been submitted before for any other degree or examination at any other university. ___________________ Ignatia Cynthia Madalane iv Contents Page Acknowledgments v List of Music Transcriptions vii List of Tracks on Accompanying CD viii Introduction 1 Chapter 1 Mabula Ndlela: The Pathfinder: The emergence of contemporary Tsonga popular music 16 Chapter 2 The meaning of Tsonga Music and Tsonga Traditional Music for its practitioners 33 Chapter 3 Three Decades of Tsonga Disco 63 Chapter 4 Constructing Tsonga-ness in Tsonga music: Negotiating ethnic identity in ‘glocal’ music practices 96 References 119 Appendix: CDs v Acknowledgments This research would not have been possible without the support and assistance of many individuals. First and foremost, I would like to thank my informants who generously granted me their time and shared their stories with me: General MD Shirinda, Joe Shirimani, Eric Nkovane (aka Penny Penny), James Shikwambana, Jeffrey Maluleke, Lulu Masilela, Dongwe Shirinda, Chris Mkhonto, Jack Matlhanyana, and the late Rhengu Mkhari. I need to acknowledge the guidance and support of Professors David B. Coplan and Lara Allen during the initial phase of my research. I would also like to express my gratitude to the staff members of the SABC Media libraries who were always ready to assist me: Ilse Assman, Suzette Lombard, Themba Mtshali, Aaron Magoro, Peter Raseroke, Kate Cele, Florence Makunga, Marius Oosthuisen, Rob Lens and Justice Mukhathi. Most of the recordings studied for this research were made available to me by the SABC Media libraries. I owe much of my sanity during the research period to the support of the Wits Music Department: the late Professor Mary Rorich, for always believing in me, Professor Jeanne Zaidel-Rudolph, for her never ending love and support, and Donato Somma, for your encouragement. I am grateful to Mireyo Mutshotsho, Liezel Borman and Gloria Bowes for always going the extra mile when I needed help. I also need to thank Yogin Sullaphen, Thembinkosi Mavimbela and Wandile Molefe for their assistance with my transcriptions. Others who have been pillars of strength during my studies include: my family, for their unconditional love, my friends, Lukas Ligeti, Mpho Matsela, Matthew Klawansky, KwaKhanya Kema, Kenneth Moya, Ilke Alexander, Sonia Sterling, Kgomotso le Roux, Lindelwa Dalamba, and Sankofa. vi Most importantly, I would like to express my utmost gratitude to my supervisor, Dr. Grant Olwage, who went beyond the line of duty throughout my research. I am grateful for your guidance, your patience, your meticulous and constructive criticism and for always motivating me. Lastly, I would like to acknowledge the financial assistance I received from the following institutions: Wits Music Division (Ellen Daniels and Olga Lipman bursaries), SAMRO, and the National Arts Council. Above all, I thank the Almighty for His love. vii List of Music Transcriptions Title Page Number Xilahla Metende 44 Mbilu ya Xihlangi 45 Xihatimana 46 A va Dakwangi 46 Ilala Mangove 47 Vanga taleli himona 48 Mabebe 49 Hita Famba Moyeni (a) 71 Hita Famba Moyeni (b) 71 Hita Famba Moyeni (c) 71 Mukon’wana 76 Hisarisile 77 Gabaza 85 Hai Ka Mina (a) 86 Hai Ka Mina (b) 87 Hai Ka Mina (c) 88 viii List of Tracks on Accompanying CD Track Artist Title Disc 1 Track 1 George Maluleke Xilahla Matende Track 2 Thomas Chauke Mabebe Track 3 Paul Ndlovu Khombora mina Track 4 Paul Ndlovu Mukon’wana Track 5 Peta Teanet Maxaka Track 6 Peta Teanet Matswele Track 7 Paul Ndlovu Hita Famba Moyeni Track 8 Paul Ndlovu Tsakane Track 9 Donna Summer I Feel Love Track 10 Paul Ndlovu Cool Me Down Track 11 Paul Ndlovu Mina Ndzi Rhandza Wena Track 12 Paul Ndlovu Dyambu Ri Xile Track 13 Bee Gees Stayin’ Alive Track 14 Donna Summer Unconditional Love Disc 2 Track 14 Chicco Tribute to our Heroes Track 15 Paul Ndlovu I Wanna Know Your Name Track 16 Paul Ndlovu Zantinti Track 17 Peta Teanet Hisarisile Track 18 Peta Teanet I’m a Dancer Track 19 Peta Teanet Saka Naye Jive Track 20 Peta Teanet N’wayingwana Track 21 Peta Teanet I Love You Africa Track 22 Joe Shirimani Gabaza Track 23 Joe Shirimani Limpopo Track 24 Joe Shirimani Miyela Track 25 Joe Shirimani Bangilimazile Track 26 Penny Penny Hai Ka Mina Track 27 Jeff Maluleke Byala bya Xintu Disc 3 Track 28 Jeff Maluleke Let’s Save the World Track 29 Jeff Maluleke Luleka Mn’wanati Track 30 Jeff Maluleke Woman of Africa Track 31 Penny Penny Laphinda Ishangaana Track 32 Joe Shirimani Bomba Track 33 Jeff Maluleke Bombomela Track 34 Jeff Maluleke Kabila Track 35 General MD Shirinda Hamilosa