‘A stalking approach’ (Zulu) – referring to the synchronized step dance routine of the performers; the ‘-cathama’ root specifically means to ‘walk softly, quietly, and stealthily.’

Other names: Cothoz’ Mfana

Acapella singing.

Traditional Zulu choral singing, makwaya.

Mbube

The name for this genre arose from its association with a South African dance style – called ‘istep’ – that was popularized in the 1930s. The Crocodiles, a popular isicathamiya group from this era, are credited with creating the original form of istep that is still practiced to this day at isicathamiya performances. However,  ‘isicathamiya’ is often confusingly used as a blanket term for this style of music as well as the istep dance. Isicathamiya is also sometimes used interchangeably with ingoma busuku (‘song of the night’) – referencing the traditional nocturnal nature of isicathamiya performances – or mbube, referring to the popular isicathamiya-style song by Solomon Linda and the Evening Birds ¹.

Isicathamiya singers were primarily ensembles of male migrant workers singing in four-part harmony with no instrumental accompaniment. The songs themselves often carried themes of loneliness and estranged romance that were familiar to migrant workers, who were often separated from their families and romantic partners by nature of their work. The actual singing style is characterized by overlapping and repeated vocal cycles, which periodically converge in sudden crescendos of vocal harmony before splitting apart into their separate registers ^{1, 2, 3}.

Isicathamiya is still a major facet of South African performance culture, with all-night competitions still featuring as popular events in most major cities, attracting as many as 20 competing choirs in a single night ⁴. The genre was later made internationally famous by Ladysmith Black Mambazo, particularly following their collaboration with Paul Simon on his Grammy-winning 1986 album Graceland ¹. More recently, groups like Thee Legacy have maintained the isicathamiya singing style whilst adding subtle percussive elements and R&B and pop-influenced vocal stylings to modernize the sound.                                                                 

Ladysmith Black Mambazo – “Nomathemba” (1964):

Thee Legacy – “S’thandwa Sami” (2016) – An example of ‘contemporary isicathamiya’:

The Vocalist – “AmaBlesser ft. DJ Maphorisa” (2018) – Mlindo the Vocalist has mentioned in interviews that he draws inspiration from isicathamiya:

Coplan, David. In Township Tonight! South Africa’s Black City Music and Theatre, 2nd Edition. Chicago and London: The University of Chicago Press, 2008. Print. p. 160 ², p.241 ³

Erlmann, Veit. 1992. “‘The Past Is Far and the Future Is Far’: Power and Performance among Zulu Migrant Workers.” American Ethnologist 19.4: 688-709. Print. ⁴

Gunner, Liz. 2006. “Zulu Choral Music: Performing Identities in a New State.” Research in African Literatures 37.2: 83-97. Print. ¹