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9
Contents
editorial
DON LETTS & SINÉAD O’CONNOR
Trouble of the World
MOEMEDI KEPADISA
A useful study in Democracy
FRED HO
Why Music Must Be Revolutionary – and How It Can Be
LOUIS CHUDE-SOKEI
Walking With Sound: Race and the Prosthetic Ear
Theme Lefifi Tladi
NUNU NGEMA
A Portrait of Ntate Lefifi Victor Tladi
MASELLO MOTANA
Tladi Lefifing!
SHEBA LO
Munti wa Marumo (Return to the source): Lefifi Tladi’s Cultural Contributions to the Struggle 1970-1980
SHANNEN HILL
CREATING CONSCIOUSNESS - Black Art in 1970s South Africa
EUGENE SKEEF
Convergence at the OASIS
LEFIFI TLADI
One More Poem For Brother Dudu Pukwana
DAVE MARKS
Liner Notes
PONE MASHIANGWAKO
My Journey with Mammoths: Motlhabane Mashiangwako and Lefifi Tladi.
GEOFF MPHAKATI & ARYAN KAGANOF
Giant Steps
ES’KIA MPHAHLELE
Renaming South Africa
LERATORATO KUZWAYO
Boitemogelo - Definitions of consciousness draped in Blackness
BRIDGET THOMPSON
Piecing Together Our Humanity and Consciousness, Through Art, Life and Nature: Some thoughts about friendship with the artist, musician and wordsmith: Lefifi Tladi
LEFIFI TLADI with REZA KHOTA & HLUBI VAKALISA
Water Diviner
PALESA MOKWENA
Bra Si and Bra Victor: The Black Consciousness Artists Motlhabane Mashiangwako & Lefifi Tladi
FRÉDÉRIC IRIARTE
Proverbs
ARYAN KAGANOF
Lefifi Tladi – The Score
DAVID LOCKE
Simultaneous Multidimensionality in African Music: Musical Cubism
MORRIS LEGOABE
A Portrait of Motlhabane Simon Mashiangwako, Mamelodi, 1978
ZIM NGQAWANA & LEFIFI TLADI
Duet of the Seraphim
PERFECT HLONGWANE
Voices in the Wilderness: A Trans-Atlantic Conversation with LEFIFI TLADI
LEFIFI TLADI with JOHNNY MBIZO DYANI & THABO MASHISHI
Toro for Bra Geoff
LEKGETHO JAMES MAKOLA
Facebook Post May 24 2023
KOLODI SENONG
Darkness After Light: Portraits of Lefifi Tladi
LEFIFI TLADI
The African Isness of Colour
EUGENE SKEEF
A Portrait of Lefifi Tladi, an Alchemist Illuminating Consciousness, London, 1980s.
galleri
BELKIS AYÓN
intitulada
LIZE VAN ROBBROECK & STELLA VILJOEN
Corpus of Ecstasy: Zanele Muholi at Southern Guild
BADABEAM BADABOOM
Excerpts from the genius cult book of black arts
PETKO IORDANOV
African Wedding (super8mm 9fps)
ANTHONY MUISYO
folk tales and traditions, the algorithm, ancient history and the city of Nairobi
NHLANHLA DHLAMINI
How to Fight the Robot Army and Win?
DZATA: THE INSTITUTE OF TECHNOLOGICAL CONSCIOUSNESS
A Repository of Thought
borborygmus
AMOGELANG MALEDU
Colonial collections as archival remnants of reclamation and (re)appropriation: reimagining the silenced Isigubu through Gqom
MALAIKA MAHLATSI
Townships were never designed for family recreation
BONGANI TAU
Can I get a witness: sense-less obsessions, brandism, and boundaries by design
SALIM WASHINGTON
The Unveiling
DYLAN VALLEY
Benjamin Jephta: “Born Coloured, Not Born Free”
EUGENE THACKER
Song of Sorrow
STANLEY ELKIN
The Flamenco Dancer
KEVIN BISMARK COBHAM
Plasticizing Frantz and Malcolm. Ventriloquism. Instrumentalization.
ARTURO DESIMONE
What the Devil do they Mean When they Say “Crystal Clear?’’
frictions
DIANA FERRUS
My naam is Februarie/My name is February
AFURAKAN
8 Poems From Poverty Tastes Like Fart! Ramblings, Side Notes, Whatever!
KHULILE NXUMALO & SIHLE NTULI
The Gcwala Sessions
LESEGO RAMPOLOKENG
Gwala Reloaded
ARI SITAS
Jazz, Bass and Land
ZOE BOSHOFF & SABITHA SATCHI
Love, War and Insurrection - A discussion about poetry with Ari Sitas
RICO VERGOTINE
Botmaskop (Afrikaanse Mistress)
RAPHAEL D’ABDON
kings fools and madwomen (after dario fo and janelle monae)
claque
JIJANA
home is where the hut is - Notes for a future essay on Ayanda Sikade’s Umakhulu
MATTHIJS VAN DIJK
Bow Project 2: Bowscapes – In Memory of Jürgen Bräuninger
PATRICK LEE-THORP
A discourse in the language of the Global North based on the colonial history of copyright itself: Veit Erlmann's Lion’s Share.
PERFECT HLONGWANE
A close reading of Siphiwo Mahala’s Can Themba – The Making and Breaking of an Intellectual Tsotsi: A Biography
RITHULI ORLEYN
The Anatomy of Betrayal: Molaodi wa Sekake’s Meditations from the Gutter
NCEBAKAZI MANZI
Captive herds. Erasing Black Slave experience
KARABO KGOLENG
Chwayita Ngamlana’s If I Stay Right Here: a novel of the digital age
WAMUWI MBAO
Nthikeng Mohlele’s The Discovery of Love: a bloodless collection.
RONELDA KAMFER
The Poetry of Victor Wessels: black, brooding black
NATHAN TRANTRAAL
Ons is gevangenes van dit wat ons liefhet: Magmoed Darwiesj gedigte in Afrikaans
ARYAN KAGANOF
Khadija Heeger's Thicker Than Sorrow – a witnessing.
KYLE ALLAN
Zodwa Mtirara’s Thorn of the Rose
ADDAMMS MUTUTA
Third Cinema, World Cinema and Marxism without a single African Author?
ekaya
NDUDUZO MAKHATHINI
Spirituality in Bheki Mseleku’s Music
ESTHER MARIE PAUW
Africa Open Improvising & AMM-All Stars
STEPHANUS MULLER
An interview with Jürgen Bräuninger and Sazi Dlamini
off the record
TSITSI ELLA JAJI
Charlotte Manye Maxeke: Techniques for Trans-Atlantic Vocal Projection
KGOMOTSO RAMUSHU
Skylarks and Skokiaan Queens: Jazz women as figures of dissent
OLIVIER LEDURE
Some Posters and LP Covers of South African JAZZ Designed by South African Artists
HERMAN LATEGAN
Memories of Sea Point
ANDERS HØG HANSEN
Sixto and Buffy: Two Indigenous North American Musical Journeys
REINBERT DE LEEUW
Sehnsucht
RICK WHITAKER
The Killer in Me
feedback
VANGILE GANTSHO
Thursday 8 December 2022
KEV WRIGHT
Monday 2 January 2023
WILLIAM KELLEHER
Wednesday, 1 February 2023
STEFAN MAYAKOVSKY
Thursday 2 March 2023
FACEBOOK FEEDBACK
Facebook
herri_gram FEEDBACK
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the selektah
TENDAYI SITHOLE
Underground: The Sphere of 2SMan
PhD
DIE KOORTJIE UNDERCOMMONS
Inhoudsopgawe
INGE ENGELBRECHT
1. Entering the undercommons
INGE ENGELBRECHT
2. Conserve undercommons
INGE ENGELBRECHT
3. Die Kneg en die Pinksterklong
INGE ENGELBRECHT
4. To be or not to be
INGE ENGELBRECHT
5. Ôs is dai koortjie
INGE ENGELBRECHT
6. Decoding die koortjie
INGE ENGELBRECHT
7. Die Holy of Holies
INGE ENGELBRECHT
8. Epilogue
hotlynx
shopping
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contributors
the back page
DOROTHEE RICHTER
(NON-)THINGS or Why Nostalgia for the Thing is Always Reactionary
ANASTASYA VANINA
War
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Archive About Contact Africa Open Institute
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    #09
  • off the record

KGOMOTSO RAMUSHU

Skylarks and Skokiaan Queens: Jazz women as figures of dissent

Three women are huddled in conversation. Their sheer stockings reflect concert venue lights, legs crossed symmetrically, they exude confidence. Dolly gestures dramatically with one elegant hand and holds a cigarette in the other. MaGumede clasps her chest in exclamation, Zenzi listens intently. This intimate moment holds infinite power. Zenzile Miriam Makeba, Kedibone Dolly Rathebe and Dorothy Masuku share a bench and eminent status of ‘jazz women.’

Photo is by Ranjith Kally, 1957, Bailey’s African History Archive (BAHA South Africa Copyright 1925-2017).

At the time, Makeba headed the Skylarks, Rathebe and Masuku were luminaries of the stage and bioscope. They grew up in the limelight, global icons, reviled and admired. Their life stories document the thrills and travails of Africa’s struggle for liberation from white supremacist capitalist patriarchy[1]White supremacist capitalist patriarchy  – bell hooks term.

Jazz women are musical, sartorial, and literary institutions. Their songs and struggles traverse rivers and straddle borders. Their lives, discographies and wardrobes are montages of cultural resistance. Mofolo, Lady Selbourne, Sophiatown, Western Native Township and Crown Mines birthed the Skylarks, a 1950s all woman ‘close harmony’ band. Makeba, Abigail Kubeka, Mary Rabotapi, Helen van Rensburg and Mummy Girl Nketle formed part of the Southern Africa’s cultural renaissance of the 1950s. The stage had been set for the Skylarks by Dolly Rathebe, by then an established international star. Masuku blazed a trail throughout Africa.

Dolly Rathebe

Masuku, Rathebe and Makeba, were a formidable trio in this expansive sisterhood. They were born in communities that were embroidered by many tongues. Masuku born to Lozi and Ndebele parents, Makeba to Swazi and Xhosa parents and Josephine Rathebe, to Batswana parents. Their music reflects this diversity.

Masuku’s music takes us on a circuitous journey, in her final album, she tracks Mzilikazi’s 1868 journey from Zululand to Zimbabwe. Her career and resistance flourished in the land her forebears escaped, South Africa; where apartheid police service harassed her for calling out Dr. Malan and Lumumba’s assassins. In a similar circular journey, Makeba’s last album, iSangoma is a return to origins. She recalls songs her mother learnt during her initiation as a healer. Nomkemendelo, was named for the British army’s commandeering of African men like her father. Like Nomkomendelo, the tyranny of colonial law bared its horrors in Zenzile’s infancy. Less than a fortnight after giving birth, Nomkomendelo was arrested for brewing beer, she was incarcerated for six months with her baby. Makeba would elude authoritarianism for decades.

Colonialism needed African women for its reproduction, yet their urbanization was discouraged. African women were labelled “travelling prostitutes” (Chigumadzi 2019) or ‘skokiaan queens’ in reference to traditional beer brewed by township women. The suppression of this practice was a fixation of the colonial and apartheid governments. From Vereeniging to Cato Manor, women engaged in battles to shut down Municipal beerhalls that were a component of extractive capitalism. The skokiian queen features recurrently in archival material, a wilful woman undeterred by legislation, pulpit, and tabloid portrayal. The workers uniform and pass were designed to constrain, but on stage and the dancefloor she challenged convention. This brought about more vilification of urban African women.  

Native beer halls, jazz cafes and other recreational spaces provided some room for transgression. Panashe Chigumadzi’s writing evokes the transgressive soundscape of the 1940s coloured by “provocative women’s ‘folk’ songs [following] in the subversive urban traditions of genres like jikinyira and mavingu, [through] which … rural black women who sought creative ways to air their many grievances against colonial officials and African patriarchs, as well as powerful rural matriarchs such as mothers-in-law.” Through their songs, African women embraced defiance, blurred the lines between Jazz Siren and Skokiaan Queen. Pata Pata was a sonic protest of street harassment. Ditshitshiri is an acerbic rejoinder about a mother-in-law whose blankets are laced with fleas.  

Dorothy Masuka & The Golden Rhythm Crooners (1953) – Hamba Notsokolo

While Bessie Head, Eskia Mphahlele and Peter Abrahams depict beer-brewing women in nuanced ways, the literature of the time is largely dominated by libellous depictions of urban African women. The politics of titillation were emphasized to sell magazines and project desired images. Affection often took a contorted turn with the gaze zooming in on the ‘morality’ of sultry jazz stars. Rathebe’s image emblazoned on the Drum magazine from different slants which emphasize her physique, her “strange life and loves.”

The fixation with policing women’s bodies also propelled the state to action. During one of Rathebe’s shoots with photographer Jurgen Schadeberg, she was arrested under the ‘Immorality Act.’ An accusation thrown at African women who did not fit into the subservient archetypes predefined for them. Makeba’s personal choices had similar political implications. She was blacklisted by promoters after her engagement to pan African activist Stokely Carmichael. Makeba was asked to leave the Bahamas where she was performing. When this was made known to the Prime Minster (Makeba 2004: 110) Masuku was labelled subversive by the South African and Rhodeisan governments, exiling her to Zambia, Tanzania, Kenya and Malawi for decades.

The complicity of white supremacy, nationalist patriarchy and extractive capitalism is expressed in the lives of Jazz women. Even the post-colony struggled to memorialize them and marshal them into chauvinist historiography. This may be the reason Makeba was not invited to South Africa’s first democratic inauguration in 1994. It could explain why Rathebe’s tombstone was crowdfunded after a high school project. Iconic legacies are disremembered by their beneficiaries.

The ‘jazz siren’ strains against stereotypical portrayals of African women. Immaculately dressed, bejewelled, and bathed in light, she embodies glamour. To dim this light, laws and social dictums are mounted against self-stylization. These women clearly occupied a complex space between subverting and sustaining their antagonists. In her memoir, Makeba writes that she wore a domestic workers’ uniform on her ride to the airport. Masuku and Kubeka recall how they stepped off stage to don aprons when police raided venues to enforce apartheid laws. The very act of singing in jazz clubs required Jazz Queens to perform the drama which poet Paul Laurence Dunbar depicted when he wrote,

“we wear the mask that grins and lies,
it hides our cheeks and shades our eyes,
This debt we pay to human guide;
with torn and bleeding hearts we smile,
and mouth with myriad subtleties”

(Dunbar 1895)

Masuku was reproved for being crowned Miss Mzilikazi 1953 at a pageant linked to the fleeting Federation of Rhodesia and Nyasaland. (Chigumadzi 2019) Makeba participated in a performance with her eisteddfod teacher which drew similar contempt.

The archivists, publishers, studio heads and photographers who played various gatekeeping roles are white men for whom black women sometimes ‘wore the mask’ or feigned complicity.

Black men, except for a few, were also infantilized by the entertainment industry. The Skylarks were depicted through the lens of these men. The ‘masculine’ inclination of these jazz circuits is evident in the generous documentation of the cultural resistance of the Manhattan Brothers, Bantu Men’s Social Centre and amaPantsula vis-a-vis Jazz women.

Makeba recounts her experiences with the Special Branch in South Africa, mirroring the harassment she encountered during her marriage to Stockley Carmichael. Carmichael’s repression was made visible and pronounced by the repressive government. He was publicly imprisoned, detained at airports and summoned to the ‘house of Un-American Activities Committee.’ The subjugation of women’s pan-Africanist politics was more ominous, it placed emphasis on urban women’s wayward behaviour and sought to police their person.

Jazz women recognise the power of sisterhood and self-stylization. When Makeba arrived in USA, Diahann Carroll, who knew how icy Hollywood could be to black women, linked Makeba up with tailors and publicists. Half a decade later, Makeba organized a tribute concert honouring Dolly. At this tribute Miriam, Masuku and the Skylarks, formed a “trust fund that would provide support for all female singers … who, in the Autumn of their careers, would enjoy a sense of security and peace of mind.” Makeba’s sisterhood was expressed in support of Aretha Franklin’s decision to boycott Sun City despite the wrath of promoters. Makeba cherished postcards sent by her comrade and sister, Nina Simone. She attended the 1994 inauguration with Zozo Laird, a woman who championed divestment campaigns that brought the apartheid economy to its knees. The sisterhood circle radiates still. The fires lit by Jazz women have parked many a flame. 

References

Dunbar, P. 1895. We wear the mask. In The complete poems of Paul Laurence Dunbar. New York: Dodd, Mead and Company

Mabuza-Suttle, Felicia. Interview

Madondo, B. 1994. In love with jazz. SPEAK.

Makeba, Miriam. 1988.

Makeba, Miriam. 1988.

Masuka, Dorothy. Tea with –

Mthonti. F. 2019. Dorothy Masuku: ‘My songs, they talk.’ In New Frame. 1 March 2019.

Ntshangase, Dumisane & Thema, Derrick. 2006. I have seen it all. Mail and Guardian.

1/24/2018 The Legacy Of The Jazz Epistles, South Africa’s Short-Lived But Historic Group :NPR

South African Broadcasting Corporation.

Notes
1. ↑ White supremacist capitalist patriarchy  – bell hooks term
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