miriam-makeba
Discovering Miriam Makeba’s music is like unearthing a treasure trove of sound and history. My recent travels to South Africa and Swaziland led me to delve deeper into the vibrant world of South African jazz, encountering artists like Zacks Nkosi and Lucky Dube. Yet, it was the ever-present melodies of Miriam Makeba, or Mama Africa as she was affectionately known, that truly captivated me. This exploration sparked a desire to understand the profound legacy of Miriam Makeba and the remarkable journey of her Makeba Song across continents, even reaching the shores of Jamaica and influencing its musical landscape.
Zensi Miriam Makeba, a name synonymous with resilience and musical brilliance, was born in Johannesburg in 1932, a city that now honors her with a dedicated street. Her early life was marked by hardship; she spent time in jail with her Swazi mother as an infant and tragically lost her Xhosa father when she was only six. Like many legendary vocalists, Makeba’s musical journey began in school choirs. Her professional career took off in the early 1950s when she joined the Manhattan Brothers, a prominent South African group, before further honing her craft with the all-female ensemble, the Skylarks. These formative years laid the groundwork for her solo career and the development of her signature makeba song style.
It was in 1956 that Miriam Makeba gifted the world with “Pata Pata,” arguably her most globally recognized makeba song. This infectious track, known for its catchy melody and playful energy, holds a unique connection to Jamaica. In 1967, Jamaican singer Millicent Todd, famously known as Patsy, recorded her own rendition of “Pata Pata” as “Pata Pata Rocksteady” for producer Sonia Pottinger. This cover, infused with the popular rocksteady rhythm of the time, showcased the transcontinental appeal of a makeba song. Patsy further cemented this connection by also recording “The Retreat Song,” or “Jikele Maweni,” another powerful Miriam Makeba song originally sung in the Xhosa language. The Xhosa lyrics of “Jikele Maweni” depict the intensity of a stick fight, revealing the depth and range of themes explored within a makeba song.
While many female vocalists of the 50s and 60s often focused on conventional love songs, Miriam Makeba’s makeba song repertoire took a different path. Her music became a powerful platform for political and social commentary, directly addressing the oppressive Apartheid regime in South Africa. Beyond protest, her songs celebrated the richness of African culture and folklore, proudly sung in Xhosa. This linguistic choice was a courageous act of defiance against the government’s forced imposition of Afrikaans, a policy that tragically led to events like the Hector Pieterson massacre in 1976, where schoolchildren protesting the Afrikaans Medium Decree were killed. Makeba’s outspokenness and the potent messages within each makeba song led to her banishment from her homeland, forcing her into a prolonged exile. In 1960, upon traveling to the United States to advance her career, Makeba faced the devastating news of her mother’s death. Returning home for the funeral, she was denied entry, marking the beginning of her thirty-year exile, a testament to the power and impact of a makeba song that challenged the status quo.
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In a poignant 1988 interview with Roger Steffens, Makeba articulated her perspective on being labeled a political singer. She explained, “I’ve always been branded as a political singer. I never set out to sing politics; I just happen to come from a country that is oppressing my people. And I grew up under that oppression. And so I sing about my own life and the lives of my people. . . . So, the strength I get is from my people. And I get if from my mother and my father and my grandmother . . . and I get strength from all the people who have given me their love in different countries.” This quote encapsulates the deeply personal and universally resonant nature of a makeba song, drawing strength from her roots and connecting with audiences worldwide.
Miriam Makeba’s life was as multifaceted as her music. She was married five times, including to South African musical icon Hugh Masekela and Black Panther leader Stokely Carmichael. Her artistic achievements were widely recognized, including a Grammy Award in 1966 for her collaboration with Harry Belafonte. She also collaborated with music luminaries such as Paul Simon, Nina Simone, and Dizzy Gillespie, showcasing the breadth of her musical influence. Her appearances on mainstream platforms like the Cosby Show and performances for figures like John F. Kennedy and at Nelson Mandela’s 70th birthday tribute concert at Wembley Stadium underscored her global stardom. Even after her passing in 2008, the legacy of a makeba song continues to inspire and resonate.
The Jamaican connection to Miriam Makeba extends beyond Patsy’s covers. Makeba herself graced Jamaican stages in 1965, 1967, and 1973 during her exile, demonstrating the strong appeal of a makeba song to Jamaican audiences. In 1967, she shared the stage with prominent Jamaican artists like The Paragons, The Jamaicans, and Byron Lee & the Dragonaires. Her performance at a charity ball at the Myrtle Bank Hotel, hosted by Edward and Mitzy Seaga and Byron Lee, further solidified her connection with Jamaican society. During her 1973 visit, she met with P.J. Patterson, then Minister of Industry and Tourism, who lauded Makeba for her unwavering fight for the dignity of South Africans and the excellence of her artistry. Significantly, it was during this visit that the Jamaican government lifted the ban on Stokely Carmichael, a testament to Makeba’s influence and the respect afforded to her and her makeba song messages.
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The immense popularity of Miriam Makeba in Jamaica can be attributed to the universal themes embedded within each makeba song. Her music spoke of Africa, oppression, struggle, and survival – themes deeply relevant during a period of significant social and political awakening in Jamaica and across the diaspora. She celebrated her people, and in turn, people across the globe celebrated her and the powerful messages within each makeba song. Even today, Makeba’s legend lives on, each play of a makeba song a testament to her enduring impact. I, too, feel this connection, proudly sharing her music with my young children. Though they may not fully grasp the nuances of the Xhosa language, they instinctively understand the universal language of music and the profound emotions conveyed through a makeba song. This is how the legacy of a makeba song is passed down, generation after generation.
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The Daily Gleaner article from December 3, 1967, aptly headlined “Miriam Makeba to Return to the Regal,” captures the excitement surrounding her Jamaican performances. The article describes “The Voice of Africa” returning to Kingston for two shows at the Regal Theatre, featuring a lineup of Jamaican artists. It highlights Makeba’s “eloquent voice,” “quiet humility,” and “charming personality” as key factors in her international stardom. The piece further elaborates on the diverse nature of a makeba song, spanning multiple languages and dialects, including her signature Xosa click songs, a unique vocal technique that defied easy description. As Makeba herself suggested, “When people ask me what I sing like… the best I can do is tell them, ‘Come and hear me.’”
Harry Milner’s review in the Daily Gleaner on December 11, 1967, titled “The Velvet Voice of Africa,” offers further insight into her performances. Milner notes the polished cabaret style of her show, contrasting it with her previous concert appearances. He praises her “velvet voice” and the clarity of the sound system, a marked improvement from her prior visit. The review mentions the inclusion of “songs of protest” alongside her signature Xosa and Transkei songs, illustrating the blend of artistry and activism within a makeba song performance. Despite a minor misunderstanding regarding microphone levels, the review concludes with a celebration of Makeba’s performance and the audience’s warm reception, highlighting the unifying power of a makeba song. The shared performance of “Patta Patta” with Milton Grayson further emphasized the joyous and collaborative spirit of her shows, leaving the audience and Miriam Makeba as “good friends.” The review also touches upon the mixed reception of the opening acts due to sound issues, ultimately underscoring the anticipation and appreciation for Miriam Makeba, “The Voice of Africa,” and the undeniable impact of each makeba song.
The enduring appeal of a makeba song lies in its ability to transcend geographical boundaries and cultural differences. Miriam Makeba’s music continues to be a powerful force, reminding us of the importance of voice, heritage, and the unifying power of melody.
