MASKANDI’S HISTORY
The lyrics are from “female gourd-resonated monochord songs that were transferred and given an acoustic life on guitar” . The origins of what is now known as maskandi may be found in 1920s music that did not center around the guitar. In the 1930s, a group of artists in Rhodesia started playing the guitar because they were influenced by Western cinema music. It was then created in South Africa by migrant laborers.
Originally connected to migrant laborers, Maskandi also known as Maskanda is a type of Zulu traditional music that is changing along with South African culture. Phuzushukela (John Bhengu) is credited as being the pioneer. Frequently distinguished by a picking guitar technique that incorporates a range of historical influences, it also serves a significant social purpose by granting musicians the authority to openly criticize influential individuals.
The music performed by the man on the go, the contemporary minstrel, and the troubadour of today has been characterized as such. It is a mode of transportation the music of a man traveling great distances to meet with his chief or woo a woman. It is the music of a guy who sings about his everyday pleasures and sorrows, his views of the world, and his real-life experiences. The Zulu blues musician’s music is what it is.
It’s hardly only the realm which consists of men and women which is significant figures in the genre, such the late Busi Mhlongo, have emerged in recent years.
The opening musical burst (“izihlabo”) of a traditional Maskandi song, usually played on the accordion or guitar, establishes the mood of the song. Izihlabo are also a kind of introduction, and they are meant to draw in the audience so that the guitarist may demonstrate their level of talent. Because traditional Maskandi guitarists tune their instruments differently, listening to izihlabo also gives those listening a method to identify the band or player with confidence. Izihlabo are usually fast-paced notes that don’t always form a melody or a clear rhythm. Another way to think of playing izihlabo is like an actor assuming a role.
These days, it is no more solely a male realm.
Songs by Maskandi frequently contain fast-paced “izibongo” (sometimes called Zulu praise poetry) portions. It doesn’t necessarily laud, though, and because of the influence of pop, house, and other genres, Maskandi has begun to focus more on the modern immigrant community and the narrative ethic than merely the musical style. The main singer’s innate uniqueness is a key element of Maskandi music. Though common in Maskandi music, songs that “sound the same” do not always indicate a drop in tune ownership. Maskandi is about sharing stories and providing a window into the soul of the lead singer.
It is seen as being similar to experiencing soul or blues music since it primarily focuses on the message conveyed by the lyrics and music. A new musician named Mtshengiseni Gcwensa (late) was presented in the early 2000s. He began performing alongside his companion Mgqumeni Khumalo (late). They both established a variety of genres in this field that inspired up-and-coming musicians.
The maskandi is “a performer of neo-traditional Zulu instrumental music,” according to composer Darius Brubeck. The origin of the word comes from the Afrikaans word musikante, which means musicians. In the South African region of KwaZulu Natal, where I have spent the last ten years living and working, there are literally hundreds of “Maskandis” who have created a rich musical repertory using a particular guitar playing technique.
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