The distinction between traditional and modern or popular implies that traditional music is somehow primitive, less evolved or less popular; but this is not the case. Modern history and market sensibilities have attempted to place African spiritual or traditional music into palatable ‘world music’ categories for foreign ears, reducing the music to a marketable and definable ‘essence’. This fails to take into consideration that traditional music is dynamic and does not operate in isolation - it spears forth just as much as it boomerangs back. Like modern popular genres, traditional music continues to evolve.
Traditional music in South Africa has been complicated by the country’s history of entrenched racism, embodied in the system of apartheid and the policy of separate development. Until the dawn of democracy in the early 1990s, the government attempted to classify and separate all citizens in the name of cultural purity. Black South Africans were divided and defined according to ethnic groups. Many were forced to live in homelands, where radio music broadcast by the South African Broadcasting Corporation (SABC) played a central role in promoting apartheid ideology, with each group encouraged to listen to their ‘own’ station. Musicians were forced to comply, recording music that was defined by the ethnicity of the artist – to the point where albums covers were labeled, for example, ‘Zulu’, ‘Sotho’ or ‘Venda’.
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