Glee Clubs Zulu Style – Durban"s Isicathamiya choirs
When Paul Simon plucked Ladysmith Black Mambazo from obscurity to sing with him on Gracelands, rocketing them to international fame and fortune, he also introduced the world to the South African musical tradition of Isicathamiya. This is, to all intents and purposes, the all-male adult version of the American Glee Club, born not from the high schools but from the gritter world of factories and mines.
Male voice choirs
As far back as the 1920s, migrant Zulu workers, desperate to find ways to entertain themselves on a Saturday night, began to form themselves into a capella male voice choirs. Typically, each choir would have anything from four to 20 members, have a full vocal range - soprano, alto, tenor and bass, with a tenor taking the lead. Each choir would name itself after its homeland, and choose a distinctive uniform.
Their music and their style was a hybrid of traditional Zulu music, Christian revivalist choirs, ragtime and the black and white minstrel shows that were popular in 19th century Britain and America with their dapper waistcoats, white gloves, two-tone shoes and slick dance moves.
Soft shoe shuffle
They sing in four-part harmony, usually in Zulu, but with large chunks of English thrown in. They sing of everything from love and loss, to religion and politics, about HIV/AIDS and rollicking comedy. They sing about the struggles of the Zulu people and about great social responsibility.
Apart from Gracelands, the most famous song to come out of the movement is Linda Solomon's adaptation of the traditional Zulu Mbube, which became international smash hit, The Lion Sleeps Tonight.
Unlike the ground-shaking foot-stomping thud of traditional Zulu dance and the gumboot dancers on the mines, the dance moves here are an almost silent soft shoe shuffle. Isicathamiya means something along the lines of 'the tiptoe guys' or 'to walk or step on ones toes lightly'. It was a way to dance without disturbing the hostel guards.
Hot competition
Huge competition between the rival choirs soon built up. Back at home, a tradition began of Saturday night choir competitions, with up to 30 choirs competing in hotly contested all night sessions. Judges were needed. The traditional judge was always an unknown White man of strict impartiality. At the beginning of the evening, the choirs would trawl the streets to find a likely contender, pulling in the nearest tramp or likely lad with promises of beer and cigarettes. These days, the South African Traditional Musicians' Association [SATMA] provides far more respectable black professionals - teachers, policemen or nurses. Contestants are judged on their costumes, their dance moves and musical creativity (often seemingly in that order). Prizes are money, a goat or cow. The satisfaction and prestige are immense.
Venues
If you are in Durban on a Saturday night, scour the local listings and see where that week's competitions are being held. They are rarely in fancy venues. You may find yourself in a bar, school or community hall or the local YMCA. It won't be fancy, and you won't get much sleep, but the vibe and the music will be worth it.
Male voice choirs
As far back as the 1920s, migrant Zulu workers, desperate to find ways to entertain themselves on a Saturday night, began to form themselves into a capella male voice choirs. Typically, each choir would have anything from four to 20 members, have a full vocal range - soprano, alto, tenor and bass, with a tenor taking the lead. Each choir would name itself after its homeland, and choose a distinctive uniform.
Their music and their style was a hybrid of traditional Zulu music, Christian revivalist choirs, ragtime and the black and white minstrel shows that were popular in 19th century Britain and America with their dapper waistcoats, white gloves, two-tone shoes and slick dance moves.
Soft shoe shuffle
They sing in four-part harmony, usually in Zulu, but with large chunks of English thrown in. They sing of everything from love and loss, to religion and politics, about HIV/AIDS and rollicking comedy. They sing about the struggles of the Zulu people and about great social responsibility.
Apart from Gracelands, the most famous song to come out of the movement is Linda Solomon's adaptation of the traditional Zulu Mbube, which became international smash hit, The Lion Sleeps Tonight.
Unlike the ground-shaking foot-stomping thud of traditional Zulu dance and the gumboot dancers on the mines, the dance moves here are an almost silent soft shoe shuffle. Isicathamiya means something along the lines of 'the tiptoe guys' or 'to walk or step on ones toes lightly'. It was a way to dance without disturbing the hostel guards.
Hot competition
Huge competition between the rival choirs soon built up. Back at home, a tradition began of Saturday night choir competitions, with up to 30 choirs competing in hotly contested all night sessions. Judges were needed. The traditional judge was always an unknown White man of strict impartiality. At the beginning of the evening, the choirs would trawl the streets to find a likely contender, pulling in the nearest tramp or likely lad with promises of beer and cigarettes. These days, the South African Traditional Musicians' Association [SATMA] provides far more respectable black professionals - teachers, policemen or nurses. Contestants are judged on their costumes, their dance moves and musical creativity (often seemingly in that order). Prizes are money, a goat or cow. The satisfaction and prestige are immense.
Venues
If you are in Durban on a Saturday night, scour the local listings and see where that week's competitions are being held. They are rarely in fancy venues. You may find yourself in a bar, school or community hall or the local YMCA. It won't be fancy, and you won't get much sleep, but the vibe and the music will be worth it.