It’s safe to say that the changes that have taken place in South Africa can be attributed to the music and spirit of Miriam Makeba. Mama Africa, as Makeba was affectionately known, was a citizen of the world. She was many things to many people lending herself to speak out about women’s rights and civil rights. One of apartheid’s biggest opponents, Makeba was an ambassador who became the face and voice of a people. Her music transcended continents and weaved itself in a myriad of genres and the issues of her time. And like all of us, her life was not without its challenges but her buoyancy allowed her to rise above it all. To some she was considered “exotic,” her presence radiant and her style expressive. A masterful vocalist, her voice could warm the coldest of hearts and has been praised not only for its prowess but also for it’s message.
Miriam “Zenzi” Makeba was born on March 4, 1932 in Johannesburg, South Africa. Her love of singing began with the spirit songs she learned from her mother. Makeba also sang in the church choir and at her school. In 1948, when Makeba was just sixteen years old, the system of apartheid was set in place in South Africa. Despite the limitations apartheid sought to impose, Makeba’s musical career began to spark. At nineteen, she became the front woman for a vocal quartet known as the Cuban Brothers. For stage purpose she began using the name Miriam for the first time. While performing at a show with the Cuban Brothers, Makeba was spotted by a member of the Manhattan Brothers, an acappela quartet that followed in the tradition of American jazz and swing orchestras. Makeba was asked to join and she accepted. While with the group, Makeba covered jazz and pop standards, sighting Ella Fitzgerald and Sarah Vaughn as her favorite performers. The songs Makeba performed with the Manahattan Brothers where sung in the local languages, including the Xhosa and Zulu languages, as it was against the law for blacks to sing in English. Around this time, Makeba released her first song, “Pata, Pata” (Touch, Touch) in 1956. The song was later re-released years later and topped the charts worldwide.
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Makeba also joined a female quartet, called the Skylarks. In 1957, Makeba began touring with the African Jazz and Variety Review. Opportunities continued to present themselves to Makeba who starred in the musical King Kong, a legendary South African musical about the life of a boxer. It played to integrated audiences and spread her reputation to the liberal white community. The musical, which was promoted as a “jazz opera”, was performed in the universities to avoid the apartheid laws and allow for mixed race audience.
That same year Makeba made a cameo appearance in a documentary filmed in South Africa, titled “Come Back Africa.” The film’s director, Lionel Rogosin, also arranged for Makeba to present the film at the Venice Festival. Her appearance in the film would mark the start of her exile from South Africa. The South African government perceived Makeba’s growing success and international platform as a serious threat. Her passport was revoked. She was prevented from returning home to her family. Makeba didn’t let this hurdle slow her speed. If nothing else, it fueled the creative fire. She relocated to America were her music was gaining support. Her first live show at the Village Vanguard in New York City, brought out the creme de la creme on the jazz scene including Nina Simone and Miles Davis. Her first US television appearance on the Steve Allen show was her introduction to the nation. It was Allen’s show that she sang “Qogothwane” (The Click Song) showcasing the impressive percussive clicking sound, she’s made famous, known as Ngongongtwang, which is an integral part of the Xhosa language. On stage, Makeba incorporated lots of expression, emotion and pulsating movements that emphasized her vivaciousness.
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While in the States, Makeba collaborated with Harry Belafonte, who helped shape her into the entertainer she would become. Her musical repertoire also changed. Her songs now had less of a jazz and R&B bent. Her new material concentrated on updated Zulu and Xhosa traditional music as well as her own composed songs. This new sound was in keeping with the folk revival taking place in the States. Makeba became the first African woman to ever win a Grammy for the album, An Evening With Belafonte/Makeba. She also worked on several projects with her ex-husband and fellow South African trumpeter Hugh Masekela, whom she continued to collaborate with throughout her career.
Even with all of the success, the plight of South Africa was never far from Makeba’s mind or heart. She used her status to speak out against apartheid. She testified at the United Nations Committee Against Apartheid describing the spectacular and ordinary indignities. Because of her testimony, the government of South Africa banned her records from the radio and in the local shops.
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But her career in the U.S. suffered severe damage due in part to her marriage to radical black activist Stokely Carmichael. Her recording and performing opportunities diminished and while not officially censored by the government, she was treated exactly like she would’ve been in South Africa. Nevertheless, Makeba continued to tour, lecture and record in Europe as her American albums slowly went out of print. In 1990, Makeba returned to South Africa after the ban of her albums was lifted.
Miriam Makeba continued to stay actively involved in entertainment until her passing on November 9, 2008. Her legacy has inspired generations of artists including renowned singer, Angelique Kidjo, who shares some of the same influence as Makeba. As well, vocalist, Somi, an artist whose style borders on jazz and soul mingled with African rhythms, has too drawn comparisons to Makeba. Makeba’s influential reach can even be heard and seen in the rhythmic vibrations of countless artists including Baaba Maal, Goapele and Les Nubians.
Miriam Makeba’s life continues to shines as a beacon of light for all generations. She lived a purposeful life that keeps paying dividends. Her talent and efforts elevated her to a platform that she may not have intentionally been trying to reach but she was true to herself. And when you’re true to yourself, the rewards and triumphs are inevitable.
Words by Terri Neal
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