Summary

The term "mbaqanga" loosely translates to "scattered food" in Zulu, and refers to a dish made of various ingredients. This name reflects the wide range of musical elements that comprise the genre. The genre is a South African music style that emerged in the 1960s. Traditional Zulu rhythms and harmonies are blended with Western instruments and influences such as jazz and R&B. Mbaqanga originated in Johannesburg's townships and quickly spread throughout the country.

Influences
HistoryMbaqanga is a South African music genre with roots in Zulu traditions that emerged in the 1960s. It blends African vocal styles and melodies with Western influences like jazz and R&B. The term "mbaqanga" means "scattered food" in Zulu, symbolizing the genre’s mixture of local and international sounds. Some believe it evolved as a fusion of marabi and kwela, two earlier South African styles. The genre developed in township shebeens, where black communities gathered for entertainment during the apartheid years. Despite the oppressive political climate, mbaqanga remained upbeat and apolitical, offering joyful rhythms and fostering interaction between black and white musicians. Sophiatown in Johannesburg became a hub for this musical culture until apartheid-era policies levelled many of these communities.
Mbaqanga was first popularized by musicians like the Makgona Tsohle Band, with members such as Marks Mankwane and Joseph Makwela pioneering the use of electric instruments. The group provided backing for Simon "Mahlathini" Nkabinde, known as the "Lion of Soweto" for his powerful "groaner" singing style, and the female vocal trio, the Mahotella Queens. Their collaborations established the signature mbaqanga sound, which was a male lead, supported by harmonized female choruses.
The genre gained traction on South African radio and became an essential part of the township dance scene, inspiring artists like Miriam Makeba, Letta Mbulu, and Hugh Masekela. During the 1970s, mbaqanga began to decline as urban audiences gravitated toward Western pop, soul, and disco. Migration patterns also affected public performances, with laborers no longer wanting to be in the public eye. Mbaqanga saw a brief resurgence in the 1980s, particularly after Paul Simon's Graceland album, which featured songs in the mbaqanga style. However, by then, it was largely replaced by a new genre called bubblegum, a South African form of pop music.
Elements 
Form and Style

The mbaqanga drums provide a solid foundation, frequently incorporating syncopated patterns and polyrhythms. They propel the music forward, giving it a pulsating, energetic feel. The bass guitar adds depth and a melodic element to the mix, joining forces with the drums to form a tight rhythmic foundation. Shakers, cowbells, and tambourines are common percussion instruments used to enhance the rhythmic texture. They contribute to the music's vibrant and polyrhythmic nature, adding layers of complexity and improving the overall groove.

Singing Style

The singers deliver soulful and powerful performances that showcase their expressive range and add emotional depth to the music. Vocal melodies are important in mbaqanga, with multiple singers or vocal groups harmonizing together. The lyrics frequently address social issues, personal experiences, love, or celebration, reflecting the music's cultural and political context.

Theme

They capture the genre's vibrant and joyful spirit, making it a popular choice for celebrations, dancing, and cultural gatherings.

Culture

During the apartheid era, the genre rose to prominence as a form of cultural expression and resistance. Mbaqanga artists such as Mahlathini and the Mahotella Queens helped popularize the style while also addressing social and political issues through their music. Their songs frequently conveyed messages of hope, unity, and the difficulties that black South Africans face.

Timbre

Mbaqanga melodies are frequently memorable and catchy, designed to captivate listeners and inspire movement.

Arrangement

Mbaqanga music is typically arranged with a mix of traditional African and Western instruments, resulting in a layered and rich sonic tapestry. The arrangements are meticulously crafted to achieve a harmonious balance of rhythmic elements, vocal harmonies, and instrumental melodies.