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Zulus and God's Music
| Article
# : |
14190 |
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Section : |
THE ARTS
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| Issue
Date : |
7 / 1988 |
2,179 Words |
| Author
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James R. Adams
James R. Adams, formerly on the editorial board of the Wall
Street Journal, is a writer on the arts who resides in
Connecticut. |
Paradoxically, a lot of anti-apartheid activists can't stand that the South African Zulu singing group Ladysmith Black Mambazo has become a hit in America. The unexpected triumph of this black, all-male a capella chorale in its spring 1987 tour created such demand that it had to schedule another visit in the fall, which was also enormously successful. Its presence has opened a window on black South Africa that shatters many of the activists' cherished stereotypes of oppression. The group is also a musical phenomenon of the first order.
Ladysmith Black Mambazo is one of the freshest and, literally, most inspired examples of the rich South African musical tradition now reaching the public through the unlikely medium of veteran soft-rocker Paul Simon. When Simon first heard this music on some small-label releases, he couldn't identify it, but he became so entranced that he traveled to Johannesburg. With some of the country's leading black musicians, including Ladysmith Black Mambazo, he recorded the Warner Brothers Album Graceland, the Grammy award winner for outstanding album of 1986.
Simon was denounced by the Left for the album's lack of overt political content. He has been on and off the blacklist of the United Nations Center against Apartheid. But, without a major hit single, Graceland stayed in the top of the charts for more than a year and sold more than eight million copies worldwide.
By embracing this album, the public in effect repudiated the narrow fanaticism of its antiapartheid critics, but the zealots were even more confounded when the musicians themselves began to arrive in the United States. They turned out to have a
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