Urban performance style from South Africa. The term derives from the Afrikaans word musikant, meaning musician. Maskanda describes a musical genre typically performed by young Zulu men, many of whom have been involved in the migrant labour system, mixing indigenous, rural musical practices with urban styles. The practice clearly dates back to the early 20th century, but it possibly has earlier roots in the introduction of the guitar by Portuguese sailors in the 1880s. The acoustic guitar remains the central instrument in maskanda, but the concertina, violin, mouth organ and piano accordion are also commonly used, that is, instruments that can be played unaccompanied or to accompany singing while walking. Under direct and indirect pressure from radio and record producers, musicians have been encouraged to form bands with electric guitar, bass guitar and drums.
Maskanda songs, called izingoma (sing. ingoma), a generic term for Zulu dance-songs, can be either adaptations of existing songs or new compositions. A common theme is nostalgic longing for rural homelands and loved ones, or commentary on the urban situation. Songs generally open with a fast guitar flourish establishing the key, allowing the musician to check his tuning and to identify himself musically. The song proper begins with an instrumental section that presents a multi-part structure with at least two overlapping parts (fundamental to virtually all Nguni musical performance). Once this is established, the voice enters and may sing through several verses interspersed with instrumental interludes. Roughly two-thirds through the song the singer frequently bursts forth with a string of self praises in speech-mode, serving to identify the musician further.
N. Davies: ‘Aspects of Zulu Maskanda Music’, On Ethnomusicology X: Grahamstown 1991, 29–39
N. Davies: ‘From Bows to Bands’, On Ethnomusicology X: Grahamstown 1991, 12–15
JANET TOPP FARGION