Donald Kachamba's Kwela Music Author(s): Gerhard Kubik Source: The Society of Malawi Journal, Vol. 32, No.

2 (July, 1979), pp. 45-59 Published by: Society of Malawi - Historical and Scientific Stable URL: http://www.jstor.org/stable/29778423 . Accessed: 16/06/2013 16:32
Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp

.
JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact support@jstor.org.

Society of Malawi - Historical and Scientific is collaborating with JSTOR to digitize, preserve and extend access to The Society of Malawi Journal.

http://www.jstor.org

This content downloaded from 128.109.48.3 on Sun, 16 Jun 2013 16:32:02 PM All use subject to JSTOR Terms and Conditions

Donald

Kachamba's

Kwela

Music

45

Donald Kachamba's
Gerhard Two Kubik,

Kwela Music
Vienna

in Malawi have long-playing records of neo-traditional music Kwela Band Donald Kachamba's been 1978, 1.) published: just Austromechana 0120240, published by Jazz Pub Wiesen, Austria. 2.) and Kwela Band. Kachamba's Donald Simanje-manje from Malawi, published by A.I.T. Records (Kenya) Ltd., P.O. Box 41152, Nairobi. This should be an opportunity to introduce the artist and the history Journal. The two LP Malawi of his music to readers of The. Society of Moni records may be obtained in Malawi Bookshop, Limbe. through Biographical Notes

was born in 1955 in the area of Blantyre/ Kachamba Donald in southern Malawi. He and his family are considered to be Limbe members of the Ngoni people, an ethnic group which split away from the Swazi of South Africa one hundred and fifty years ago and to what is now Malawi and in several successive waves migrated The Ngoni groups which settled in southern southwestern Tanzania. were assimilated Malawi population. by the Chichewa-speaking and English. Donald speaks Chichewa His relatives possess some land and small houses in the village of International Airport at Chief Singano, about 1mile from Malawi's under whose patronage he Chileka. With his elder brother Daniel, stood in his childhood, he spent part of his early youth in Salisbury (Zimbabwe), where the family lived from 1957 to 1961. There he and His relatives possess some land and small houses in the village of International Airport at Chief Singano, about 1mile from Malawi's under whose patronage he Chileka. With his elder brother Daniel, stood in his childhood, he spent part of his early youth in Salisbury

his elder brother had their first contact with the new South African or pennywhistle traditions of the time, Kwela musical jive and various styles of guitar music. As a six-year-old boy he began to play the pennywhistle in his elder brother's band in Salisbury, his elder brother had their firbury. Brothers with their band in In February 1967 I found the Kachamba Blantyre when they gave a street performance near the big market documentation comprehensive 16-mm film [24].

where thefamilylivedfrom 1957 to 1961.There he and (Zimbabwe),

months I was able tomake a (Kubik [6], pp. 1-2). In the following
of their musical style on tape and

This content downloaded from 128.109.48.3 on Sun, 16 Jun 2013 16:32:02 PM All use subject to JSTOR Terms and Conditions

46

The

Society

of Malawi

Journal

own which he had formed with his friend josefe the BuLAHAMU, rattle player in his brother's band of 1967. They mainly played for at in the area of Matope Mission occasional dance parties at Lundu Shire river, north of Blantyre. In 1972 I toured East Africa and Europe with the Kachamba Brothers. In 1973 we did joint studies of neo-traditional music in the Chileka area, Malawi. on and Simanje-manje 1973 Donald has performed Kwela Since in Brazil, concert and lecture tours in 14 countries of Africa, and many He has received countries. Venezuela European flute international recognition as one of the finest exponents of Kwela
music.

In 1970/71 Donald

played guitar,banjo or flutein a group of his

A brief history of *Kwela*

and *Simanje-manje*

Kwela is a Zulu word given to a popular urban musical style of southern Africa. Itmeans "to climb" or "to go up"; also "to attempt with success", "to go up and win." In a wider sense this word belongs to a conceptional and framework associated with social emancipation means "to It also increased intensity of life (Kubik p. get 13). [6], from Vendaland, by N.V. ralushai high" (personal communication S.A., 17/4/1975) referring to heightened physical and psychical states. the second official language The wovd-kwela also exists in Chichewa, as -kwera, "to climb, ascend; to rise" (Scott inMalawi, [19]). to the South African musicologist Elkin Sithole, musical According use of the term first occurred during the 1940's in connection with a new kind of Zulu vocal music known as the "bombing style". (See

also Rycroft

chorus to join in, he would

wanted to get the When the leader [15], [16] and [17].)
shout "Kwela!"

to the green South African police van and in one Kwela hit of the 1950's, "Tom Hark" by Elias and his Zig-zag JiveFlutes (Columbia The recordbeginswith a DB 4109) this is exploitedwith greateffect. dice with the forbidden humorous sketch. Young boys are gambling
comes one "Here the street-corner. at a shouts: Suddenly At the approach of the police van they hastily pocket kwela-kwela!" flute music their winnings and substitute the event with "harmless"

it expressed the continuous p.52.) In reduplicated form kwela-kwela still has action of the responding chorus (SlTHOLE). Kwela-kwela in South Africa: it is one of the various names given another meaning

see also Kubik [4], (Personal communicationby SlTHOLE, 18/5/1972,

Since the early fifties the word Kwela has been associated pp.55-56.) seen at of penny-whistle bands with young boys, playing street-corners in the South African cities. The boys had become

(Kwela) until the van has disappeared. (Compare Rycroft

[16],

This content downloaded from 128.109.48.3 on Sun, 16 Jun 2013 16:32:02 PM All use subject to JSTOR Terms and Conditions

Donald

Kachamba's

Kwela

Music

47

familiar with American swing from records and films and now played their own adaptations on the metal flutes. The flute set represented the saxophone set of the American Swing bands. Thes? groups worked as mobile street ensembles in the townships and also in the "White" areas of the large cities Johannesburg, Durban, Cape Town and others, playing for pennies. With their instruments they walked from one street-corner to the next, playing in front of shops, bottle stores and hotels. The music was very popular with all sections of the South African public. (For a description of the social see, for instance Modisane [12] and benseler [1], background, street concerts is given A precious testimony of Kwela pp.119-125.)

It is an impressive example of Cine ma help of Black organizations. ve rite with several documentary scenes of Kwela groups playing in the streets. The standard instruments of a Kwela band were one or two (acoustic) one-string guitars, one or more pennywhistles and the home-made the Western box bass. However, factory-made instruments, such as to guitar and flutes, were also adapted by the South African musicians with African aesthetics and played and their own concepts techniques. As a result, some amazing new ways of performance instruments evolved. playing theseWestern there is a valuable testimony by As to the early beginnings of Kwela at the time who was perhaps the only musicologist David Rycroft, interested in thismusic. Referring to Johannesburg Kwela he wrote in 1958: "Whistle-playing suddenly became popular there in 1950 after the success of a locally made film called The Magic Garden, which featured a little penny-whistle boogie, played by a cripple boy. Before this, flute-blowing had always been the traditional pastime of country in town" herdboys and on this account had been frowned upon

in the film "Come back Africa" (90 min, USA, 1959) which was produced by Lionel rogosin clandestinelyinSouthAfricawith the

(Rycroft [16],p.55).

Kwela",

between the pennywhistle playing and traditionalflutes,especially themablaka used by herdboys in rural areas. So far, there is little evidence forthis. I am inclinedto believewithDavid Rycroft that
to over? have enticed observers the association flute-flute may in with traditional connections (Conversation pipes. emphasize

It is evident from the remarks on record covers such as "Pennywhistle a connection SEYJ 105, that some observers assume

Kwela

was quickly exploited commercially. scouts" of the "Talent at street-corners appeared major South African record companies on records, searching for promising groups. What was published as not it sounded. For Kwela did however, originally always represent reasons it was the policy of some record companies to commercial as closely as possible steer this music towards the contemporary

London,April 1975.)

This content downloaded from 128.109.48.3 on Sun, 16 Jun 2013 16:32:02 PM All use subject to JSTOR Terms and Conditions

48

The

Society

of Malawi

Journal

White man's records were also sold to a great image of Jazz. Kwela extent to the White in South Africa, they were even community popular in England (see Rycroft [16], p.55). The record companies cashed in on the surprise effect that "dirty little Bantu boys can play Jazz" using such "primitive instruments". It was in line with the in racist philosophy that the "native's" musical talent is based
genetics.

Via records and radio broadcasts, but also as a result of large-scale in southern Africa, had spread by the labour migration Kwela now the and Nyasaland, of Rhodesia mid-fifties to the Federation Malawi and countries Zimbabwe-Rhodesia. Zambia, independent There it gained a new foot-hold. In the mid-sixties South African popular music began to change considerably. The boogie, jive, rock, and and Phata-phata twist rhythmus of the Kwela period The and straight-forward beat of theKwela and disappeared. swinging to an "interruptive", Jive bands gave way Saxophone highly accentuated and intersected movement style developing over certain illustration P. 106). The short basic bass patterns (see Kubik[4]), harmonic cycles such as F C G7 C and C C7F G7, which have roots in traditional music of southern Africa and are a characteristic element in Kwela setting it apart from the strophic chorus forms found in in the new music. However, passing American Jazz, were maintained and substitute chords began to be introduced to a great extent, often circumscribing or paraphrasing the original harmonic cycles. or Simanje-manje, This new music was referred to as Simanje-manje a term in Zulu of now-now", language, meaning "things "things of current from about term became 1963 on with the today". The of records of female vocal groups backed by electric publication as the Mahotella the Mahotella such (see: "Meet Queens guitars, and others MOTELLA LMO West Nkosi 101). Saxophonist Queens", created instrumental versions of the new beat. (See, for instance: "Jump and Jive with West Nkosi", L-USA 2.) This music was no more played in the streets, but in large dance and community halls and in the studios of the record companies. The intrumental set was on Western "beat music" modelled of the time, using three electric guitars (rhythm, bass and lead guitar) and jazz drums, as a basis for a a vocalist, sometimes an accordeon or a piano soloist saxophone, -Kwela same from the At the time-about 1963/64 organ. disappeared streets of the South African cities. Ten years later Andrew TRACEY of in Roodepoort could write the International Library of African Music to me: "The these days are only people playing pennywhistles Afrikaans musicians, who still play a few Kwela numbers from the '50s, still thinking that it is the current African pop music... "(Letter dated October 23, 1974). In 1974 another word was popular for the new music: mbaqanga.

This content downloaded from 128.109.48.3 on Sun, 16 Jun 2013 16:32:02 PM All use subject to JSTOR Terms and Conditions

Donald

Kachamba's

Kwela

Music

49

This was the kind of music regularly practised in the rehearsal rooms at Msaho of the Gallotone (Roodepoort) Company by various I (Girls of theWind). professional groups, such as Izintombi zo Moya 1975 and assisted in some of the rehearsals during a visit inNov/Dec found that this was exactly the kind of music that would still be called or Zambia, where the new term is not in Malawi Simanje-manje term often used in South Africa in 1975 was current. Another to music, performances especially referring by Mgqashiyo Nkabinde. Mahlathini (See, for instance, a notice in The World of 19, 1975). Wednesday, Nov. when he Kwela music was a basic source for Donald Kachamba, started flute playing at the age of six in Harare township, Salisbury. in Zimbabwe-Rhodesia, Zambia and Like other pennywhistlers Learned his repertoire from the South African Donald Malawi, Lemmy Special, Abia records of Spokes Mashiyane, Themba, and other famous musicians of Frans Mudau David Thekwane, 109 the time. (See a list of selected records in Kubik pp. 110.) [4], soon and Zimbabwe-Rhodesia But these bands in Malawi, Zambia, began to compose their own pieces, and new trends appeared. Some is an Central African dance patterns were also included. There band privately and beautiful rumba piece by a Kwela unusual in 1963 by Dr. H.J. NiESEL of the German recorded in Lusaka Academic Exchange Service, Nairobi1. There are very few recordings of the Kwela off-shoots in the countries north of South Africa. Far from the major recording centres in southern Africa, these bands had few chances of ever being recorded and popularized. in Malawi In 1967 I recorded and filmed Kwela music played by even in remote villages throughout the country (Kubik adolescents group at Chileka did not constitute an isolated [24]).The Kachamba though it was the most musically outstanding one in phenomenon, a was In 1967 when Donald Kachamba the country. in his flute brother's he had band, boy playing twelve-year-old a distinctly personal style. At least partly his already developed models had ceased to be the South African pennywhistlers. Besides the usual twist, jive, and Sinjonjo numbers, a new dance rhythm was band of 1967. They called itdoublestep often heard in the Kachamba because of the double foot steps of the dancers, but five years later as Simanje-manje. It seems that this they referred to this music rhythm first came to the area with records such as those by the Dark records of the early City Sisters, but most definitely with saxophone in Donald's period. A record that was crucial Simanje-manje a was of soloist flute "Mawrong wrong" by Kid development style Wrong Ma Wrong 159, Rock Patha (published on Winner 45 OK, Special). Though there are still many Kwela numbers of the 1950's period in

This content downloaded from 128.109.48.3 on Sun, 16 Jun 2013 16:32:02 PM All use subject to JSTOR Terms and Conditions

50

The

Society

of Malawi

Journal

Brothers today, DONALD'S flute the repertoire of the Kachamba a was at when time Kwela in South declining playing developed Africa. On his flute he began to imitate the playing style of South African solo saxophone players. He developed from this a soloist flute style with elaborate jazz-type variation techniques. (See, for instance, in "Wodala Sofia" and "Maliro the flute parts aKachamba" Brothers' 1972 LP record [6].) published on the Kachamba The social setting of Kachamba's music

in southern Africa, it For an understanding of neo-traditional music is important to consider the enormous influence of modern channels on the creative musicians. and record Radio of communication a new to have technical and aesthetic opened up approach players a in sounds and Black Africa. Music from is loud-speaker composing danced to without the dancers seeing the musicians, without being is actually produced. Contemporary able to observe how the music African musicians who record in the studios are aware of this and of the new possibilities for composing thus they take advantage
created.

in his compositions. He also has a record studio approach Donald a permanent creates music for multiple from reproduction imprint, the record. The composed version is final. Compositional techniques as possible. and performing time are therefore used as economically The piece is "built up" to give desired effects with a view of expected reactions from a radiogram or juke box audience. The idea is to create a unique effective imprint, a concentrated and optimally of a product which does not last longer than the ca. 3 minutes standard single.
1 We study. are grateful to Dr. Niesel for kindly allowing Donald to copy his recordings for

In the early seventies radiogram parties became increasingly popular in villages round Chileka and replaced to a certain extent the roaming Kwela groups of the sixties. Such parties are referred to as dansi by ku dansi" the local people. (I am going to the dance "Ndikupita party). A more descriptive term is dansi yobecha (dance for payment), because for each the dancers pay song. (Communication by of Donald's Aliya Moya Band, March 1978.) The pattern of payment is exactly the same as itwas in the days of live Kwela bands. The owner of a radiogram sets up his equipment in front of his house expecting that young boys and girls would gather, just as they did in the news spreads that there the old days for traditional dances. When

will

be

dansi many

young people move

to the spot

This content downloaded from 128.109.48.3 on Sun, 16 Jun 2013 16:32:02 PM All use subject to JSTOR Terms and Conditions

Donald

Kachamba's

Kwela

Music

51

and I from all directions, on bicycles or on foot. In 1973 Donald often visited such parties. Usually they lasted up to about 2 o'clock in the night. The owner of the record player then plays any desired record for a fee of 5 tambala to be offered by one of the dancers. The continuity in playing records is rarely broken, because social pressure is exerted by the group on those boys and girls who are supposed to have some cash in their pockets. The general happiness must not The The earnings of one night may be considerable by local standards. owner of the radiogram then uses part of the earnings to buy the latest, usually South African, records to attract more people to the next party. Within this system only single records is the convenient not LP's could never be played continuously because of which unit, individual record wishes.
stop.

The musical

instruments

a) The pennywhistle sound is the pennywhistle, a flageolet hallmark of the Kwela flute, end-blown, made from a metal tube with cylindrical bore. It has six finger holes and a range of two octaves. In the early fifties, various models were sold in South African music shops, but as of the late 1950's Hohner, Trossingen, dominated the market (see also Kubik - 32. Some Kwela flautists used home-made instruments [6], pp.30 from old bicycle pumps or other metal tubes. Kirby has pointed out that the commonly accepted name Percival "penny whistle" is in fact, erroneous. He says, "The real name of this instrument...is the 'cylinder flageolet', so styled by reason of its to the conical one of the old 'penny 'bore', as opposed cylindrical " whistle' ([3], p.276). of southern Africa developed a completely new approach Musicians in Western towards these metal it is flutes. While countries considered a toy instrument, not suitable for producing music of flautists have made this instrument a tool "high standards", Kwela an of wide of flautists range capable unbelievably expression. Kwela use an embouchure different from the recorder-type embouchure known in Europe. From the viewpoint of the player the flute is rotated clockwise for about 45? and pushed relatively far into the mouth towards the inner side of the right cheek. An oblique position of the musician's head results from this (see Fig. 1). The oblique embouchure that the edge and window remain open guarantees between the lips of the player, and a full and round tone is obtained, much louder than if it is played in a recorder-type embouchure. The

This content downloaded from 128.109.48.3 on Sun, 16 Jun 2013 16:32:02 PM All use subject to JSTOR Terms and Conditions

52

The Societyof Malawi Journal

result of the Kwela is that the flute sounds Another embouchure almost a semitone lower than its factory-tuned pitch. In the present uses a Hohner in G; it sounds almost down to an F films Donald Kwela flautists also use their own fingering system. They can produce in a combined passing notes glides, blue notes and chromatic factory-tuned seven-note diatonic scale.
sharp.

technique of fingering and blowing which goes beyond the

Kwela flute, 1974

Fig.

1Donald

Kachamba

playing

the

b) The guitar filmsE 2136 [20] and E 2137 [21]). The fifthstring of a six-string Often thefifth stringis not pulled out completely,but just detached.
Then acoustic guitar is removed before playing, leaving a gap (see Fig. 3). it hangs rolled-up on its peg, so that the guitarist can put it back In the band of the Kachamba is used, in contrast to Daniel Brothers a guitar with only five strings Kachamba'S solo guitar playing (see

solo guitarplaying.During any timehe wishes to switchto six-string

concerts in foreign countries the absence of the fifth string has often elicited comments from the audience. Some people believe that a

isbrokenand helpfully string point itout to theplayer!

This content downloaded from 128.109.48.3 on Sun, 16 Jun 2013 16:32:02 PM All use subject to JSTOR Terms and Conditions

Donald

Kachamba's

Kwela

Music

53

,dy of Hohner. In thisway he walks during long excursions;April 1974 The sixth string remains in its place, but is tuned to a note different uses a from Western guitar tuning. In the items filmed Donald from string No. 1-6 it is: E-B-G-D-.-G. The G of the sixth string is a

2. Donald Fig. JAVEL "plastic"

in LG tuning guitar" five-string "Band playing in F, Golden with a mouth in combination organ

with Melo

patternhe and his brothercall LG (pronouncedas inEnglish); tuning

in Malawi, For says Donald. among other musicians - 3 are used for the 1 four the upper strings strings, fingers pressing while the thumb stops the bass string, usually at the second fret counted from the capotasta. This creates a two-note shifting bass reminiscent in certain harmonic contexts of the fundamentals of a notes struck on the upper guitar bow. The traditional musical strings often allude to partials of these bass notes. With a capotasta placed at the third fret, the guitar is raised to the current

fifth below theD of No. 4. The LG tuningand its name is also

uses what he calls a "plastic". For striking the guitar strings, Donald term for plectrum. It is called is the Kachamba Brother's This are cut because the plectrums traditionally by the "plastic" Brothers from old plastic bottles, preferably Gillette's Kachamba in is a bleach that was made JAVEL, found along the roads. JAVEL The Salisbury and sold in large or small yellow bottles in Malawi.

level of the flute inG (sounding slightlylower).The tonicG of the of theguitar. fluteis tuned inunisonwith thefourth (open) string

This content downloaded from 128.109.48.3 on Sun, 16 Jun 2013 16:32:02 PM All use subject to JSTOR Terms and Conditions

54 Kachamba

The

Society

of Malawi

Journal

these bottles the best material Brothers consider for cutting the rather large plectrums which they prefer because of its medium softness. They also always use steel strings, never nylon strings on their guitars. remarks: "The sound is not good. Concerning nylon strings Donald It is also not loud enough" (note, 29/11/1973). c) The rattle in Donald instrument is the beat-carrying The tin rattle reference and dancers' band. The musicians' Kwela kachamba's is of the rattle. This pulse always goes with the down-strokes important to know, because observers, especially from alien musical cultures, get easily confused by the accentuation of the guitar patterns structure of donald's an to hear the total tend music, i.e. the and twist items "upside down", especially Simanje-manje the up-strokes of beat as after-beat and the reverse. In the "Twist" both the rattle and the guitarist's right hand carry a strong accent, but the reference pulse (beat) is in the down-strokes. It appears that the rattle was not used in South African Kwela, and certainly not in the studio recordings. Jazz drums were used instead. Kwela bands the rattle was adopted to represent the In theMalawian sound of the jazz drums, especially the cymbals of the South African
models.

as nsanje or maseche. in southern Malawi The rattle is known It is a home-made instrument. A small tin is used and a series of holes is struck into the sides all around the cylinder with a hammer using a nail to pierce the holes. Then the inside is filled with a thin cm high, of beads, sometimes pebbles. layer, not more than 1-1.5 is the content of the "Masai beads" such as sold to tourists in Kenya rattle used in the present films. In twist the rattle player produces a timbre pattern memorized with the aid of the syllables ka-cha ka-cha ka-cha etc.; ka represents the and in Chachacha up-stroke, cha the down-stroke. In Simanje-manje etc. Incidentally, the the mnemonic syllables are cha-cha-cha-cha name of the Latin-American derives from these dance chachacha are Mnemonics beat. rattle the mnemonic syllables representing music a in African as device traditional important teaching across the continent (Kubik [6], [7], [8] and [9]). In all instances the rattle player produces not only a "rhythm" or "beat", but patterns of timbre and accent. d) The one-string bass The one-string box bass was probably introduced to southern Africa is skiffle music, but the principle with the knowledge of American

This content downloaded from 128.109.48.3 on Sun, 16 Jun 2013 16:32:02 PM All use subject to JSTOR Terms and Conditions

Donald

Kachamba's

Kwela

Music

55

in most areas ot Black Africa from the playing of the to which the American bass is historically washtub ground-bow as a children's still is used related. The ground-bow widely familiar

Africa must have "touched a chord" in the South African boys who started Kwela and corroborated and revived the traditional idea of the street music is designed to ground-bow. The box bass used inKwela be a "mobile" instrument, which can easily be carried from place to place. It is almost always made from a tea chest, such as found in the store rooms of the large tea-exporting companies.

inAfrica. The introduction of the skiffle bass in South instrument

The construction of a one-string bass is easy, provided that a suitable box has been found. The box must be open on the underside. A small hole is bored into the sound-board (upper side), one end of the string is inserted and a knot ismade round a nail. The nail is not attached to the box, but remains loose at the lower end of the string inside the

in the Studio of the IWF, G?ttingen, May 21,1974

Fig. 3. Position and technique the one-string bass. Donald

of playing rehearsing

This content downloaded from 128.109.48.3 on Sun, 16 Jun 2013 16:32:02 PM All use subject to JSTOR Terms and Conditions

56 box. The

The

Society

of Malawi

Journal

upper end of the string is attached to the end of a stick (string bearer) of some 90 cm length. The string is cut from a length of cord such as that used for packing parcels; it should be about 4 mm thick. The preferable material is sisal (khonje), says Donald.

lit a match Before the string bass was ready for performance Donald and brushed it along the string to burn all the little "hairs" standing off. The string must be smooth enough for the right touch with the fingers. The basic technique of playing is to sound the string by pulling it with thumb and first plus second finger, and releasing it. This technique may be varied during a performance and temporarily substituted by other techniques, such as for instance, fast pendulum strokes with the index or strokes with the nail of the thumb (in directions to the left) followed by the basic "pull and release" to the right (see Kubik 43). The pitch of the note is changed by [6], pp. 42 with the hand against the upper end of the stick, left pressing gently while the lower end is propped up against the sound-board of the box controls (see Fig. 1). By altering the lefthand's pressure, the musician case with the tension of the string and intonates (in donald's the desired pitch. The tension of the string also amazing accuracy) pulls the nail attached to the lower end of the string against the inside of the box. e) The mouth organ Mouth organs have been used by the Kachamba Brothers only since in 1972. This is not, however, an indication their first trip to Europe of a "European influence" on their music. Europe only provided the for buying an instrument which has been used in opportunity southern Africa for a long time. In the 1930's (and also much earlier) 'German' concertinas, guitars, and "jew's harps, mouth- harmonicas, were in available South African trading stores (Kirby[3], autoharps" traditions in South Africa using the p.257). There are African musical German concertina which go back to the 19th century. The combination organ, the latter fixed to a guitar and mouth round the musician's harmonica-holder neck, was found among lone in South Africa, who walked minstrels along country roads from were so poor that the these musicians place to place. Sometimes cazoo of a could not afford a mouth organ and used a home-made bamboo tube with a hole covered with a mirlitone. Arthur met such a minstrel Benseler in 1969 near Tzaneen (Transvaal). This was quite a character who called himself "No. 1 Pepsi Cowboy" (BENSELER [1], p.123, and photograph p. 126). Some of the mouth has flown into organ and concertina music where in one instrumental set, usually labelled Simanje-manje

This content downloaded from 128.109.48.3 on Sun, 16 Jun 2013 16:32:02 PM All use subject to JSTOR Terms and Conditions

Donald

Kachamba's

Kwela

Music

57

GUMBA GUMBA LPBS 3.)

an accordeon is the "Accordeon Jive" by the record companies, leading instrument backed by electric guitars. (See for instance, Tsohle Band, LP records "From the Beat recordings of the Makgona and Uyavutha LSJM of Simanje-manje", Umlilo, 1001, S.A.,

elder brother Daniel Donald's began to play with a small mouth a on inMay holder organ accompanied by his solo guitar in Vienna 1972 during long walks in the City's famous wine quarter, Grinzing. on the Kachamba he composed There "Aloni Jive" published Brothers' 1972 LP record (Kubik [6]). Donald quickly imitated his brother's "new fashion" and already in 1972 created his own songs formouth organ and guitar, as well as adapting songs the Kachamba Brothers had performed before with other instruments. manner of playing casual observer may think that kachamba's guitar and carrying a mouth organ on a holder round his neck has the Kachamba Brothers' something to do with blues music. However, to the mouth organ is different from that of blues players. approach The Black US styles often show an aesthetic ideal and a technique of which is strangely reminiscent of the timbre sound production qualities found in algeita (oboe) music of the Sudanic belt of West In from reed grass. the small oboe made Africa, especially are no such "Blues" mouth there kachamba's organ playing elements and certainly no "Sudanisms". and Donald's mouth organ The instrument represented inDaniel's The style is the accordeon, as used in South African Simanje-manje. connection is perhaps more South African apparent, when one considers not only the "Malawi Chachacha" (with a Latin American The

Brothers. repertoire of the Kachamba uses a Hohner Golden Melody in F, 16 cm long, diatonic, Donald Hohner Catalogue No. 2416/40. He found that this model combined excellently with his preferred guitar tuning called LG. In this case he tunes the guitar strings slightly higher than in theWestern pitch-pipe tuning, all the (five) strings, without capotasta, are about a semitone higher, the top string (open) sounding F instead of E. Then he places the capotasta at the second fret and tunes the fourth string in unison with the tonic of themouth organ in F. The position of the mouth organ in front of his lips is such that the treble notes are always to the left, the deep notes to the right. But Donald says that anyone can position his mouth organ as it suits also reversed him, (note, 6/2/1974).

performed byDonald rhythm)

in thefilmE 2329 [23],but the total

This content downloaded from 128.109.48.3 on Sun, 16 Jun 2013 16:32:02 PM All use subject to JSTOR Terms and Conditions

58

The

Society ofMalawi

Journal

Bibliography
A.: Beobachtungen [1] Benseler, res. 5 (1973/74). [2] Gunther, [3] Kirby, London H.: P.R.: Grundphanomene Tanzes. musical 1965. in der modernen Musik The afro-amerikanischen 1934. Repr. zur Kwela-Musik 1960 bis 1963. Jazzforsch. des 1969. races of South Africa. afrikanischen - Jazz und

und Grundbegriffe Beitr. z. Jazzforsch. 1,Graz instruments of the native

von Kwela, Jazz und Pop [4] Kubik, G.: Die Verarbeitung - Jazz res. 3/4 von Malawi. Jazzforsch. (1971/72). [5] Kubik, [6] Kubik, Malawi. (Book G.: G.: Transcription 5, 2 (1972). The Kachamba Pap. Brothers' 9. Univ. Band. A of African music Afr. Music

from silent film: theory and methods. study of neo-traditional Inst. for Afr. Stud., music in

Zambian and LP

of Zambia, Rekonstruktionen

Lusaka

1974.

record.) vergangener Theorie 71 - 74. of boys' initiation of in the Body. in von Walter 12 (1976), The in the music (Ed.): Musik. und Ein Beitrag Praxis der Wien Traditionen. 70. Geburtstag Ethnohist. movement J., Bl. In: Aus

Kachamba's [7] Kubik, G.: Donald zur Erfassung nicht-verbaler Ethnohistorie. Festgabe in Wiener 1974,-Erg?nzungen zum

Hirschberg.

Patterns G.: [8] Kubik, south-east Angola. A.S.A. [9] Kubik,

of body

In: Blacking, 1977. und

Anthropology

15, London Monogr. G.: Perzeptorische

JSchwarz-afrika. Musicological In: The [10] Kubik, G.: Malawi. 1978/79. London Jazz - the A.A.: [11] Mensah, [12] Modisane, [13] Music Spik [14] Rycroft, southern [15] Rycroft, [16] Rycroft, A Rew. [17] Rycroft, [18] Rycroft, neighbours. [19] Scott, Repr. Filmography [20] Dauer, A.M., Solo (IWF), Guitar DC: 1970. B.: Blame D.: D.: D.: D.: D.: me (anon.). Daily Melodic Brit. new Zulu male The

kognitive Grundlagen 1 (1977). Austriaca Grove's Dictionary

der Musikgestaltung of Music - Jazz res. and Musicians. 3/4

New

round trip. Jazzforsch. on history. London 1963. Times, imports Inst. of Blantyre, and exports:

(1971/72).

22, 1976, p.6. September a byproduct of Sound, Bull. 1, 4 (1957). Recorded

recording

in

Africa.

Recorded

3, Winter

1956.

traditional

singing. Afr. Music Recordings

"town music" Folk Music 11 (1959).

of southern Africa. African The music 1977.

Folk Music. 1958. features J. and their 1929.

of Brit, and Foreign African Music Radio, music Counc.

1, September/October and non-African of the Zulus

in Johannesburg: Africa. Notes,

of the Int. Folk Music BBC

in Southern Teacher's

Summer

Dictionary

of the Chichewa

language.

C.L.A.I.M.

Blantyre

and

G.

Kubik: Film E

Malawi, 2136 of

Southeast the IWF,

Africa Gottingen

Daniel 1976.

Kachamba's

Songs.

This content downloaded from 128.109.48.3 on Sun, 16 Jun 2013 16:32:02 PM All use subject to JSTOR Terms and Conditions

Donald Publication [21] Dauer. by G. Kubik, and

Kachamba's Wiss. Kubik. Film E

Kwela Film., Malawi, 2137

Music Sekt.

59 Ethnol., Ser. 7, No. - Daniel 1976. 33/E 2137 - Donald the IWF,

Publ. G.

32/E2136 (1977), 16pp.

A.M., Solo by G. (IWF), Guitar Kubik, Kachamba's Publication [22] Dauer. Gottingen Ser. 8, No. [23] Dauer. Gottingen Ser. 8, No. [24] Kubik, G.: Malawi Brothers, guitar playing Kachamba Brothers at a Kachamba's Music. of the

Southeast

Africa

IWF, Gottingen Ser. 7, No. Africa) 2328 Film., of Sekt.

Publ. Wiss. and G.

Film.,

Sekt. Ethnol.,

(1977), 14pp.
A.M., Kachamba's

(IWF), Kwela

Kubik: Malawi

Malawi Twist. Publ.

(Southeast Film E Wiss.

Music:

1978.

Publication (1978), and Music: Publication (1978),

by G. 20 pp. G.

Kubik:,

Ethnol., - Donald

29/E 2328 (IWF), Kwela 1978. 30/E 2329 Unpublished (1967): near solo Mzedi; Brothers

A.M.,

Kubik:

Malawi

(Southeast

Africa)

Chachacha. Film E 2329 of the IWF, Simanjemanje, Sekt. Ethnol., Publ. Wiss, Film., by G. Kubik, 21 pp. colour, on neo-traditional by Kachamba of Daniel film XI. The music in solo sketch 49 (c) 20. and A. music the Kachamba playing Kachamba (d) The Kachamba Brothers Festival at a Jive band

16-mm film material, film K D item on at

(a) Theatre Chileka; film rumba

performed shots 4.

(b) Donald

Analytical the guitar at Singano film X village; Singano

village; (e)

performing at a local dance party; film X 5. (0 The Kachamba (Part II); film X 6. (g) Independence performing at a local dance party northern Malawi; and one-string films D 19-21. (h) Masoko Sweet Singers, bass at Karonga, northern Malawi; film D 40.

Rumphi, with banjo

This content downloaded from 128.109.48.3 on Sun, 16 Jun 2013 16:32:02 PM All use subject to JSTOR Terms and Conditions