Conny chauke biography definition

next saturday I will be travelling to East London, nowadays called Buffalo City, in the Eastern Cape province for the first big Maskandi festival in that era.

Zulu blues 

Maskanda or Maskandi is a Zulu folk kind of music, which has evolved and has become big in South Africa. Maskandi music is largely popular and mostly consumed in the Kwa-Zulu Natal province, given its rich Zulu heritage and significance to the Zulu tribe. In popularity Maskandi is the 2nd top selling genre in South Africa, after Gospel music.

In Durban the genre is called ‘‘the music played by the man on the move, the modern minstrel, today’s troubadour.” It is the music of the man walking the long miles to a bride or to meet with his chief; a means of transport. Maskandi music tells us of many stories of society, about one’s view of life and personal experiences. This style of music is distinguished by an instrumental flourish (izihlabo) that sets the tone at the beginning of each song, in a picked guitar style and rapidly spoken section of Zulu praise poetry, called “izibongo“.

The content is not always praise, though, and with pop, house and other influences Maskandi it has become more about the story telling ethic and the modern migrant culture, than simply about the musical style.

It is the music of the man who sings of his real life experiences, his daily joys and sorrows, his observations of the world. It’s the music of the man who’s got the Zulu blues.&#; 

This Saturday Zulu troubadour Phuzekhemisi is among the best-known practitioners of the Maskandi genre on stage. Other legendary performers are Mpatheni Khumalo and Bheki Ngcobo a.o. 

National performers expected to perform include Phuzekhemisi, Khuzani, Mbuzeni, Amawele ka Mamtshawe, Nkunzemdaka, Shushubaby and Ntombethongo.

They will be performing alongside local Maskandi groups, Lumanyano cultural group, Sivuyile traditional dancers, 4&#;4 dancers, Ichawne Lebhaca and Gadla Nxumalo. 

Also on

South African Xitsonga musician

Musical artist

Dr Thomas Hasani "Shinyori" ChaukeOIS (born 5 February ) is a South African Xitsonga musician. Chauke was granted an honorary doctorate in African languages for the role his music has played in the development of the Xitsonga language.

Early life

Chauke was born in Salema (Saselamani) Village in the Limpopo Province, South Africa. He dropped out of school at primary level (Standard 3/Grade 5) to work at a flower firm in Heidelberg, Gauteng, in He then moved to Alexandra in , where he fixed swimming pools and tennis courts in neighbouring Sandton. While there he met his uncle, who was into mbaqanga music and played the Tsonga guitar, which he taught Chauke how to play. Chauke traveled back home in and fixed radio sets. He was already married with a the age of 72 he’s planning to take a 6th wife that is 22 years old from Chauke had five wives, 23 children and 12 grandchildren.

Music career

Chauke started his band with 13 singers from a shebeen in the late s. After a few months, only five remained. They performed at school halls to raise money to go to Johannesburg and realize the recording dream. Chauke signed a contract to record with GRC. Under GRC, the music was branded Nyoresh. He moved to Wea Records, where he got a better deal and changed his music brand from Nyoresh to Shimatsatsa ("a beautiful girl"). In , he recorded his first album called Shimatsatsa no. 1 under the burner name Thomas Chauke and Shinyori Sisters. Now he hands out awards yearly in the category: Dr. Thomas Chauke's Artist of the Year for Munghana Lonene Fm. In the course of his career,

Ximatsatsa: exploring genre in contemporary Tsonga popular music

M.A., Faculty of Humanities, University of the Witwatersrand, / While much has been written on black South African popular music (see, for example, Anderson, ; Coplan, ; Erlmann, ; Meintjes, ; Allen, ; Ansell, ; Muller, ), little has been written on Tsonga popular music. This dissertation interrogates ‘Tsonga music’, a category for naming Tsonga popular music used by many including the South African Music Awards (SAMAs); one of the few SAMA categories (others include Afrikaans, Venda and Pedi music categories) to be named by ethnicity. I question why the music is labeled the way it is and how these genre labels, which participate in global genre histories and local ethnic histories, interact with the Tsonga music category. In sum, this study explores what Louise Meintjes calls ‘genrefication’ ( 19) in popular Tsonga music and the meaning this has for its practitioners in a ‘glocalized’ music market (Robertson, cited in Steger, ). In chapter one I trace the origins of Tsonga music as it is known today. The chapter focuses on General MD Shirinda, considered the father of Tsonga music. I write about aspects of his life and the role he played in the development of contemporary Tsonga music. Chapter two pays close attention of one of the Tsonga music subgenres, ‘Tsonga traditional’ or neo-traditional music. The chapter interrogates the meaning of the Tsonga traditional label for its practitioners. Here I question the use of terms such as ‘Tsonga’ and ‘traditional’ for labeling Tsonga music. I end the chapter by discussing some characteristics of this subgenre. The third chapter follows the narrative of ‘Tsonga disco’ as told by my informants. Through the life stories of the musicians who have played major roles in the development of this subgenre, I explore how socio-political circumstances influenced the labeling of the subgenre. The chapter