Shiyani Ngcobo

Shiyani Ngcobo was a Maskandi guitarist and teacher from South Africa who was a major figure in spreading the popularity of Maskanda outside of its homeland of South Africa. He toured Denmark, Belgium, Switzerland, Germany, the United States and the United Kingdom during the early 2000s in support of his album Introducing Shiyani Ngcobo. In addition, he taught maskandi guitar style at the School of Music of the University of KwaZulu-Natal. He died near Durban on 18 February 2011.

Shiyani Ngcobo
Born1953
Umzinto, KwaZulu-Natal, South Africa
Died (aged 58–59)
Durban, South Africa
GenresMaskandi
Occupation(s)Musician, songwriter
InstrumentsGuitar, Vocals
Years active1989–2011
LabelsWorld Music Network

History

Early life

Shiyani was born in 1953 in the province of KwaZulu-Natal, South Africa. He was born to two members of the Zulu people, and their musical styling would later influence much of his work.[1] When Shiyani was 13 he became fascinated with Maskanda music after his brother, Khetuwise, introduced him to the traditional piece Sevelina. His father was an alcoholic who would frequently beat his mother, which eventually led him to leave home in 1970 and lead the life of a migrant worker throughout South Africa. Eventually he met his life partner Gertrude and settled down in Kwa Makutha near Durban.[1]

Beginning of Musical career

In 1989 Ngcobo won a Maskandi guitar competition at the University of KwaZulu-Natal,[1] where he would teach Maskanda guitar for the rest of his life.[2] After many years, he acquired a manager, leading to concerts in Norway, Cameroon and Malaysia.

Rise in Europe and America

At the Rainforest World Music Festival in Malaysia, Ngcobo caught the eye of producer Ben Mandelson who recorded several demo tracks that ended up on a BBC Radio 3 session.[1] These demo tracks led to Mandelson traveling to South Africa to help Ngcobo record Introducing Shiyani Ngcobo, his only album, which was released in 2004.[3] In support of this album, Ngcobo embarked on a European tour that featured stops in the United Kingdom, Germany, Denmark, Belgium and Switzerland.[1] In 2007, Ngcobo made his one and only trip to the United States, where he played a concert at Carnegie Hall.[4]

Death

Ngcobo died in his home outside of Durban on 18 February 2011.[2] Despite his high profile, he lived a very humble life and when he died, his daughter Khanyisile had to go on the radio to solicit for funds to help pay for the funeral.[5] He was later included in the World Music Network's compilation The Rough Guide to African Guitar Legends, which came out on 15 March 2011[6]

Musical style

Ngcobo was known for using his songs to give a picture of the life of a Zulu migrant worker and used the lyrics of his songs to examine themes of broken families, loss and masculinity in a constantly changing culture. Dr. Kathryn Olsen wrote of his style that Ngcobo, "asserts a version of masculinity that derives meaning from the experience of dispersal resulting from conquest and domination."[7] Musically, he blended drums of the ngoma dance style with a more traditional Maskanda guitar style.[8] Unlike many of his compatriots, Ngcobo resisted the use of electronic drum kits and synthesizers, instead using a more minimalistic and traditional style of a single acoustic guitar and bass.[2] On occasion, Ngcobo would also play a rudimentary instrument made out of a 5-litre oli can, wood, wire and nails known as an igogogo.[9] These sounds came together to create what was called a "more intimate aesthetic" than many other contemporary Maskanda guitarists.[1] Ngcobo himself referred to his style of playing by saying, "It is the guitar that speaks."[10]

Discography
  • Introducing Shiyani Ngcobo (2004)
gollark: That's just a sort of preambley bit.
gollark: ```I can’t even say what’s wrong with PHP, because— okay. Imagine youhave uh, a toolbox. A set of tools. Looks okay, standard stuff inthere.You pull out a screwdriver, and you see it’s one of those weirdtri-headed things. Okay, well, that’s not very useful to you, butyou guess it comes in handy sometimes.You pull out the hammer, but to your dismay, it has the claw part onboth sides. Still serviceable though, I mean, you can hit nails withthe middle of the head holding it sideways.You pull out the pliers, but they don’t have those serratedsurfaces; it’s flat and smooth. That’s less useful, but it stillturns bolts well enough, so whatever.And on you go. Everything in the box is kind of weird and quirky,but maybe not enough to make it completely worthless. And there’s noclear problem with the set as a whole; it still has all the tools.Now imagine you meet millions of carpenters using this toolbox whotell you “well hey what’s the problem with these tools? They’re allI’ve ever used and they work fine!” And the carpenters show you thehouses they’ve built, where every room is a pentagon and the roof isupside-down. And you knock on the front door and it just collapsesinwards and they all yell at you for breaking their door.That’s what’s wrong with PHP.```From the fractal of bad design article.
gollark: Are you suggesting Assembly is fine for webapps too?
gollark: I don't really believe that.]
gollark: The "wrong"ness of opinions, I guess, depends if your disagreement is based on aesthetic preference differences, or wrong facts/logic.

Shiyani Ngcobo at AllMusic

References
  1. Lusk, John (31 May 2011). "Shiyani Ngcobo: Musician who popularised the Zulu folk music known as maskanda". independent.co.uk. The Independent. Retrieved 12 February 2014.
  2. Olsen, Kathryn (24 February 2011). "Obituary: Shiyani Ngcobo". worldmusic.net. World Music Network. Retrieved 12 February 2014.
  3. "Introducing Shiyani Ngcobo". billboard.com. Billboard. Retrieved 12 February 2014.
  4. Eyre, Banning. "Shiyani Ngcobo dies, February 18". blog.afropop.org. Afropop Network. Retrieved 12 February 2014.
  5. Mngoma, Sphumelele (25 September 2011). "Waste of a maskandi talent". channel24.co.za. 24.com. Retrieved 12 February 2014.
  6. Jurek, Thom. "The Rough Guide to African Guitar Legends". allmusic.com. AllMusic. Retrieved 12 February 2014.
  7. Olsen, Kathryn (2001). "'Mina ngizokushaya ngengoma'/ 'I Will Challenge You with a Song': Constructions of Masculinity in maskanda". Agenda. Agenda Feminist Media (49): 55–57. doi:10.2307/4066492. JSTOR 4066492.
  8. Coplan, David B. (Spring 2001). "Sounds of the "Third Way": Identity and the African Renaissance in Contemporary South African Popular Traditional Music". Black Music Research Journal. Center for Black Music Research – Columbia College Chicago and University of Illinois Press. 21 (1): 113.
  9. Stradling, Rob (23 June 2011). "Introducing ... Shiyani Ngcobo Zulu guitars dance: Maskanda from South Africa". http://www.mustrad.org.uk. The Magazine for Traditional Music throughout the world. Retrieved 12 February 2014. External link in |website= (help)
  10. Titus, Barbara (Spring–Summer 2013). ""Walking Like a Crab": Analyzing Maskanda Music in Post-Apartheid South Africa". Ethnomusicology. University of Illinois Press on behalf of Society for Ethnomusicology. 57 (2): 286–310. doi:10.5406/ethnomusicology.57.2.0286.
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