Apartheid and Jazz: Arts, Culture and Heritage Focus

Apartheid and Jazz: Arts, Culture and Heritage Focus

(Extracts from an Article by Peter Sinclair, published in Sechaba, August 1970)

“On my arrival in South Africa some ten years ago I followed the course of my interests. This path led me to a building known as Dorkay House in Johannesburg, where I was privileged to be able to hear ‘live’ the type of music I had previously only heard on record. Dorkay House is the centre for Union Artists, a privately sponsored organisation that attempts to aid music and theatre for Africans in South Africa. A difficult task that daily grows even more difficult.

“At that state ‘King Kong’ a brilliant musical with an all-African cast had just been produced and was receiving much acclaim in both Black and White circles. The show later went on to London where it played successfully for some time and was the breeding ground (and escape route) for such artists as Hugh Masekela and Miriam Makeba amongst others. Today in South Africa it would be impossible to produce a ‘King Kong’ to play before White or integrated audiences. At best the show could be taken around some tatty township halls (African compounds).

“Steadily, blow by blow, the SA government kills any possibility of communication between the two main race groups – and consequently the possibility of any racial harmony. A number of years ago, in Cape Town particularly, where Apartheid regulations were less stringent, partly due to the large Coloured population and more ‘liberal’ Cape tradition, it was still possible to go to a club and hear African jazz. Concerts at city halls were possible (even with integrated audiences at tone stage) and at universities.

“New laws were brought in first prohibiting mixed audiences and then any non-whites from performing in a white area without a permit. To get a permit is virtually impossible, believe me I have tried it. It is common practice for the authorities to let you know 24 hours before the show is due to go on that in terms of section … by power of section … permission is refused. It is all part of the system, anything that might show that a non-white can also be capable, intelligent human being is against the law.

“At one stage about five years ago we thought things were looking up. An African jazz group know as the ‘Soul Giants’ were contracted to play at a plush Durban ‘Five Star’ hotel. But not for long – a law was soon passed prohibiting non-whites from performing in licenced premises and the group’s contract was terminated mid-way. Recently in Johannesburg I persuaded a non-licenced club to use African jazz groups. Advertising had to be more or less ‘underground’ so as not to alert the authorities. The results were staggering, the club was always packed to near capacity and the music received with wild applause. People approached me saying ‘Its fantastic, where do they come from?’ Actually they live just around the corner in an area known as Soweto – a huge township some 15 miles (24 kilometres) from the centre of Johannesburg.

“But it was not much joy for the musicians who had to sit aside from the public when not playing and to whom I had to slip drinks because the management would have objected. One jazz musician, Kippie Moeketsi, actually wrote a number about this type of situation, it was called ‘Scullary Department’ because the musicians inevitably landed up in the kitchen. However, even this has come to an end. Jointly with the announcement of the new horrific ‘job reservation’ acts which are putting thousands of Africans out of employment as clerks, counter-hands, telephonists and receptionists, the police moved in on the club and told them to close the show. The management did so, it would be pretty pointless to try and fight them – if there isn’t a law they can soon make one. Such is life in a police state.

“Music comes naturally to Africans and most musicians are self-taught, as indeed they must be as there are no music schools for a non-white in South Africa exception Union Artists. Barely existing on minimal funds, its teachers poorly paid, its students not able to pay, it is doomed to failure. Now Group Areas Acts are forcing them to close their offices in the city.

“Once penny whistle groups added colour to the city. These groups consisted usually on one or two penny-whistlers, a one-string bass made from an old tea box, a guitar and a vocalist used to entertain people on street corners, but now the police have driven them away.

“But still the music exists, chain gangs of Africans digging a road, chanting in time to the fall of the pick. A powerful hum which can be heard far away and you think of hills and mountains and how Africans could speak to one another sometimes over a distance of many miles.

“The only hope for an African musician lies in escape to another country where his talents can be appreciated, respected and paid for. This is no easy matter. Apart from requiring a record that shows ‘no political misbehaviour’ either on his part or on the part of any relative, he must pay £100 (currently would be around R2 250) to the SA government before he can acquire a passport. (Fee for a White being 30 shillings).

“And a host of talent exists, accomplished musicians like Kippie Moeketsi, Chris Schilder, Winston Mankunku, Count Judge, to name a few, are trapped in this country where it is forbidden to succeed if you are Black”

Source:
Peter Sinclair, “Apartheid and Jazz” Sechaba, Vol. 4, No. 8, August 1970.

HAS IT CHANGED MUCH UNDER A POST-APARTHEID STATE?

Castro Khwela
Good morning fellow Compatriots!🙏🏾✊🏾👊🏾