Fifa has blatantly ignored music embodying the true ethos ofAfrica
SANDILE MEMELA
THE LINE-UP of artists for the Fifa
Kick-Off Celebration Concert
reveals a weakening of local musicians
in their struggle for inclusion
against the dominance of Africabrewed
fake-American artists.
A casual glance at the list suggests
that a style aspiring to or imitating
what Americans do was the
major selection criterion.
Ironically, the distinctive African
ethos that makes local artists unmistakable
carriers of local musical heritage
and creativity is what seems to
have been blatantly ignored.
Of course, this is a not surprising
development considering that, by
and large, record-producing multinationals
have always valued musicians
who sound more American or
British than local.
And as a result, it is easy to conclude
that artists like Lira, Loyiso
Bala and Tumi Molekane, for
instance, have made it to the line-up
because they flow from this trend.
Without casting aspersions on
their artistic freedom and integrity,
this is not the calibre of artists that
anyone in their right mind would
regard as resonating with an African
musical ethos, the fundamental
spirit or character of our culture.
Presumably, the premise of the
struggle by the Creative Workers
Union of SA to be involved was to add
a dimension that brings an unmistakable
spirit of Africa to the concert.
To grasp the local musicians’ hollow
victory, it’s necessary to take a
closer look at the content and character
of the music of those chosen to
perform. We have to ask ourselves,
“What does their music say about
Africa and who has influenced it?”
It is not clear what processes
were followed or what criteria were
considered to determine which
artists should be included. But an
African musical ethos should have
been an important component.
The fact that artists are so-called
“black” in the global culture does
not necessarily mean that they are
committed to Africa and its culture.
There is no doubt that artists like
Lira, Loyiso and Tumi have cooked
up a storm in their careers but the
issue of the recipe is more important
in determining the complex issue of
who is African and who is not.
Anyone with a critical ear can
argue some artists don’t cut it when
it comes to being so-called African.
One might argue from the late 1970s
until the rise of kwaito in the early
1990s, the definition and success of
African music was premised on how
American or European it sounded.
But what one misses from the
World Cup line-up is the musical
character and the indigenous quality
of artists like Dr Phillip Tabane,
Ihash’ Elimhlophe, Nothembi
Mkwebane, Phuz’ekhemisi, Busi
Mhlongo and Arno Carstens, among
others intrinsic to the cultural history
and heritage of this country.
It was South Africans, for
instance, who not only revolutionised
the British jazz scene in the 1960s, but
provided an alternative jazz voice
outside America for the first time.
The artists that CWUSA fought
for seem to be a radical departure
from this. Instead, these are artists
who seem to have bought into the
power of Coca-Colonisation or globalisation
at the expense of defending
and preserving indigenous culture.
The continent, especially South
Africa, will have nothing to contribute
to global culture as long as
indigenous artists are neither true to
their African soul nor resonate with
their culture. Indigenous music –
just like our transitional society – is
diverse and multi-dimensional.
A group that exemplifies that is
Kwane Experience, who add a dash
of American to a strong dose of
local. They are the kind of South
African musical group that cannot
be put into a box and trotted out to
live up to American or European
aesthetic expectations. Their originality
and creativity express an
African musical ethos, and there’s a
strong case for their inclusion.
Unfortunately, the record industry
still elevates American and
British performers above local creativity
and continues to use them as
the yardstick. But it is the choice of
local artists to decide where their
loyalty and aesthetics lie.
A defining feature of artists who
choose to connect themselves to their
indigenous heritage is that they offer
the world something that speaks to
Africa and elevates its capability.
There will always be those who
pursue self-aggrandisement and
financial success, but the survival of
African music depends on indigenous
artists who are not afraid of
declaring themselves and staying
true to what stirs in their souls.
This is the cultural role and
responsibility of artists. But the
local musicians’ “victory” in adding
more local talent to the line-up leaves
much to be desired when we think of
who is African and who is not.
