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Week 25 - Protest Music of South Africa

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Between 1948 and 1993 one word dominated the politics of South Africa: apartheid. These cruel laws fuelled by racism segregated almost every facet of life. Black members of society were forbidden to work, marry or mingle with the white population. They were even forced to live in designated areas on the outskirts of cities and towns.

Opposition to these unjust laws came in many forms. There were hunger strikes and worker strikes, peaceful as well as violent demonstrations. Artists also found themselves involved in protests. Playwrights, poets and novelists produced work that were unashamedly critical of the government. While useful in shining a light on the government’s cruelties, the written-word and theatrics had limited reach. Music, on the other hand, was dynamic and flexible enough to reach the masses. It was easily spread through radio waves and be promoted at concerts and rallies.

The blues and jazz were musical forms that were forged in discrimination and injustice of early 20th century America. This was the same music that went on to inspire the black community in South Africa, who felt a deep affinity with their African American cousins. Even before apartheid South African musicians began playing jazz and blues in the shebeen of the large cities. Fusions between American and local music began producing new forms like marabi, kwela and mbaqanga. These musical styles were themselves a form of protest. In a land where the black community had no voice, musicians were carving out their own identity through music and song.

In the 1950s the government introduced ever more aggressive policies aimed against the black population. One such example was the Relocation Act. This act effectively uprooted hundreds of thousands of black people and relocated them to distant townships. A depiction of this event was captured in a popular song called Meadowlands

Have you heard what the white people say?
Let's all go to Meadowlands

The song was in no way melancholy. Written in the kwela style (a type of ghetto jazz) the song was upbeat and catchy. This confused the authorities who believed it to be a pro-relocation song and allowed it airtime on the radio.

But not all songs were so ambiguous. A growing number of songwriters were willing to challenge to government directly with their lyrics. Notable examples are “Thina sizwe (We African People)” and “Dubula ngembayimbayV (We will shoot them with cannons)”. These songs were radical and much more confrontational. In 1954 political activist Vuyisile Mini penned the damning “Ndosemnyama Verwoerd (Verwoerd! Watch out)”. This song didn’t pull any punches. It was aimed squarely at then prime minster Hendrick Verwoerd. Things would not end well for either man. In 1963 Mini would be hanged for his activism and Verwoerd would be assassinated a couple of years later.

The 60s and 70s saw yet more turbulent times. The resistance movement began increasingly violent campaigns against the white ruling class. The government in turn employed ever more cruel and heavy handed tactics. Thousands were arrested and there were frequent bloody clashes on the streets. Two of the most horrendous incidents happened in the townships of Sharpville and Soweto. Hundreds were killed as the police opened fire on the protesters.

Despite all this the protest music never stopped. Songs like “Soweto Blues”about on the brutal massacre continued to inspire and gather support. For the most part the international community seemed deaf and blind to the deteriorating situation. That changed, however, as the 1980s rolled around, and, again, music would serve as the catalyst.

After the activist Stephen Biko was killed in police custody singer-songwriter Peter Gabriel felt compelled to act. He was appalled at the indifference shown at the murder of such a prominent figure. His response was “Biko”, a song that incorporated South African music styles and featured lyrics that urged the world to wake up.

“The man is dead, And the eyes of the world are watching.”

The song was not only a hit, it went on to trigger an interest in the activist Stephen Biko as well as the politics of South Africa. Soon apartheid was being referenced in all manner of songs, from hip hop to folksongs. Some even incorporated South Africa music styles to show solidarity and support.

In 1985 The Specials released a song that would push another activist’s name to the forefront. It seems inconceivable now but before the release of “Free Nelson Mandela” the future president of the new South Africa was relatively unknown throughout the western world.

It would be naive to think that music alone was responsible for the eventual collapse of the apartheid government, but it would be equally naive to think it played no part at all. It was certainly responsible for throwing a spotlight on a dark situation many didn’t know was happening. This was down to the bravery and persistence of the singers and songwriters that refused to be silenced.

 


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