Explore Mbaqanga on Josplay Music 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.
Mbaqanga is a South African music style that started in the late 1950s and grew popular in the 1960s. It was created in the townships of Johannesburg. It came after styles like marabi, tshaba-tshaba, and kwela, and mixed traditional African rhythms with jazz, R&B, and township singing. Musicians often performed it in shebeens—illegal bars in the townships—where people gathered to dance and enjoy music.
Influenced By: Kwela MusicMarabi
The word “mbaqanga” itself comes from Zulu, meaning a quick, home-cooked dumpling or meal. Some critics used it to mock the genre’s rawness and spontaneity, but for the musicians and fans, it captured the essence of the music: fast, rich, and homegrown. Producer Rupert Bopape, who played a major role in the genre’s formation, likened it to preparing a quick meal with whatever is on hand.
Mbaqanga took shape in the studios of Johannesburg during the 1960s, especially at Mavuthela, a division of Gallo Records. As South Africa’s Black urban population expanded due to forced relocations and the creation of townships, so did the need for new cultural expressions. In places like Sophiatown, musicians gathered in illegal speakeasies called shebeens, experimenting with sounds and instruments borrowed from both African and Western traditions.
One of the earliest and most influential groups in mbaqanga was the Makgona Tsohle Band, a group with lead guitarist Marks Mankwane and bassist Joseph Makwela. These musicians pioneered the use of electric instruments in local music. Under the guidance of Rupert Bopape, the band became the backing group for singer Simon “Mahlathini” Nkabinde, known for his deep, growling “groaner” vocals, and the powerful female trio, the Mahotella Queens. Together, they created a sound that defined mbaqanga—upbeat rhythms, soulful leads, and harmonies.
This particular style became known as vocal mbaqanga or simanje-manje, a name that reflected its blend of modern and traditional elements. It caught on quickly across South Africa and influenced a generation of artists, including Miriam Makeba, Hugh Masekela, and Juluka, the interracial band led by Johnny Clegg and Sipho Mchunu.
By the 1970s, mbaqanga evolved into a smoother, more R&B-influenced form called mbaqanga-soul, often performed by all-male vocal groups like The Groovy Brothers and The Soul Brothers. These acts borrowed vocal stylings from American soul music but kept the township groove at their core.
However, towards the end of the decade, mbaqanga’s popularity began to fade. Younger audiences were drawn to disco, funk, and a slick new South African pop genre known as bubblegum. Migration patterns also played a role, as many performers who were migrant labourers preferred to stay out of the public spotlight.
In the 1980s, mbaqanga got a second chance—this time from the global stage. Paul Simon’s Graceland album, released in 1986, introduced international audiences to South African sounds, including mbaqanga. Featured on the album were many of the genre’s original stars, including Mahlathini and the Mahotella Queens, who began touring and recording again.
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.
They capture the genre's vibrant and joyful spirit, making it a popular choice for celebrations, dancing, and cultural gatherings.
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.
Mbaqanga melodies are frequently memorable and catchy, designed to captivate listeners and inspire movement.
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.