Afro fusion
Afro fusion (also spelled afrofusion or afro-fusion)[1][2] is a dance and musical style that emerged between the 1970s and 2000s.[3][4][5][6][7] In the same way as the dance style the musical style invokes fuses of various regional and inter-continental musical cultures for instance jazz, hip hop, kwaito, reggae, soul, pop, kwela,blues, folk, rock and afrobeat.[6][8][9][3][10]
Afro fusion
- Afrofusion
- afro-fusion
1970s -1980s, South Africa
- mbira
- violin
- saxophone
- harmonica
- drums
- steel-string acoustic guitar
- singing
- keyboard
Term and widespread usage[edit]
Vincent Mantsoe and Sylvia Glasser are the pioneering figures behind "Afrofusion" a contemporary African movement vocabulary and technique that emerged in response to the political changes following the near-end and end of the apartheid regime, a system of racial segregation that took place in South Africa from 1948 to 1991.[11]
After the musical style was exponentially globally popularized by afrofusion band, Freshlyground the hypernym's usage to describe and label both former historical as well as present-day exemplars of blending African music with other genres for instance, Western music, accelerated.[12][13][8][14]
In 2015, John Collins described the musical style as "Afro-Fusion music of Africa itself" in his biography and music criticism book, Fela: Kalakuta Notes.[15]
American, rapper GoldLink's 2019 album, Diaspora merged African, Caribbean and North American music, inclusive of a song titled, "Zulu Screams".[16] "Zulu Screams" demonstrated German singer-songwriter of Haitian and Moroccan descent, Bibi Bourelly singing in Lingala alongside British-Nigerian musical artist Maleek Berry who was described as an "afro-fusionist" by Pitchfork.[17]
History[edit]
1970s - 1980s[edit]
During the peak of apartheid in the 1970s and 1980s, many South African artists opted for exile, making it somewhat challenging to document their careers therefore information wasn't as readily shareable or accessible during the time period.[40][41]
Slyvia Glasser's afrofusion arose from the combination of African music and ritual and incorporating Western contemporary dance forms into her choreography. Glasser initiated the company, Moving Into Dance Mopha-tong during a period of heightened racial oppression and segregation. As an anthropologist, her desire to create contemporary dance rooted in an African context and her environment is what drove her. Her vision of afrofusion, which additionally incorporated a modified Graham technique, became a cornerstone training method for South African dancers for many years. When Vincent Mantsoe assumed artistic leadership of MIDM, changes ensued. Mantsoe's exploration of Eastern dance forms and mysticism influenced a shift in technique and training. The company underwent further transformation when Gregory Maqoma took the helm, introducing his vision of post-modern African dance and steering the company in a new direction.[42][43] Leigh-Ann Hunter of TimesLIVE had said "On stage Gregory Maqoma moves with a kind of madness but when we talk, the contemporary dancer sits utterly still, like a carved ebony Buddha."[44]
Stimela's fundamental sound was afro fusion. Joy White was their inaugural vocalist.The debut of Stimela occured at a perfectly opportune moment, stepping in to fill the gap left by afrofusion band, Sakhile's sabbatical.[7][45] Sankomota was an afrofusion band formed in the 1970s in Lesotho. They served as the resident band at Maseru’s Victoria Hotel, entertaining notable figures like Miriam Makeba and Hugh Masekela, who were in exile from South Africa due to their political views. Their breakthrough came in 1983 when South African producer Lloyd Ross from Shifty Records recorded their debut album, Sankomota and Frank Leepa's hit composition "It's Raining" was released. Subsequent band albums were released under labels such as Gallo Record Company and the band relocated to South Africa. Tsepo Tshola toured Southern Africa with Hugh Masekela and later traveled to London, where the rest of Sankomota joined him in 1985.[46][47][48] Bassist Bakithi Khumalo and his cousin, drummer Vusi Khumalo, supplied rhythms for country and Western bands. The Khumalo's formed the band, Theta.[49] Tananas, comprised Ian Herman, Steve Newman and Gito Baloi. The band secured deals with Gallo and Sony. Their music melded elements of jazz, ragtime, township jive, Mozambican salsa and Spanish music.[7][50] Peace released their debut record and performed alongside Dollar Brand (Abdullah Ibrahim) and Hugh Masekela.[51] Collective, Night Cruiser performed in Zakes Mda's plays at the Space Theatre.[52]
1990s[edit]
In 1991, Zap Mama released their debut album Adventures in Afropea 1. The polyphonic group comprised founder and leader Marie Daulne along with Sabine Kabongo, Sylvie Nawasadio, Cecilia Kankoda and Celine Thooft. They were influenced by their diverse European and African heritages in addition the cosmopolitan ambience of Brussels, their hometown. They crafted an a capella repertoire blending elements from Congolese pop and Arabic melodies as well as various other influences.[53] During Daulne's time in America she fused soul, jazz, hip hop , reggae and Latin music amongst other genres. Daulne collaborated with a range of artists such as South African male a capella ensemble Ladysmith Black Mambazo, Americans actor and rapper Common and Michael Franti.[54]
As Nelson Mandela's release from prison and the end of minority-dominated white governance approached, Tsepo Tshola returned from London and teamed up with Hugh Masekela for his homecoming Sekunjalo tour of South Africa in 1991.[46]
In 1993, Tsepo Tshola released his debut solo album, The Village Pope a moniker that resonated well with fans and has remained associated with the songster ever since.[47]
Grace Mpori Senne, together with her daughter Sandra Pheto established an all-women band named African Maroon. Senne was as an actor, author, director, dancer, researcher, percussionist and expert instructor with a focus on Southern African dance styles, namely gumboot dance. African Maroon showcased a diverse afro-fusion repertoire spanning jazz, mbaqanga and blues. Whilst residing in Soweto in the 1960s, Senne was an engaged member of the African National Congress. Grace Senne's apprentices at the Community Dance Teachers Training Course (CDTTC) included Vincent Mantsoe and Gregory Maqoma. Sylvia Glasser described Senne as "a living storehouse of knowledge of traditional African dance".[55][56]
In 1994, Tananas' released Orchestra Mundo which earned them the Best Jazz Performance award at the inaugural, South African Music Awards.[7]
In 1997, Maqoma had earned a scholarship to attend a choreographic workshop at DanceWeb in Vienna, an experience that broadened his horizons. Choreographer Emio Greco had urged him to "push more, go for more," and had introduced him to improvisation.[20]
In 1999, Greg Maqoma established The Vuyani Dance Theatre. The Vuyani Dance Theatre derives its name from Maqoma's Xhosa name, "Vuyani," which in English translates to "joy".[44][20]