CONTENTS

Approval ii
Declaration iii  
Acknowledgements iv
Abstract vi
Table of contents ix
Maps and illustrations xii

Chapter One
Introduction
1.0 Statement of purpose 1   
1.1 Historical background of Mwase – Lundazi Area 2
1.2 Review of literature 7
1.3 Methodology 7
   1.3.1 Data collection 7
   1.3.7 Data Analysis 9  

Chapter Two
Historical development of the Mganda dance
2.0 Music and dance in traditional Chewa and Tumbuka society 12
2.1 Origins of Mganda in Mwase – Lundazi 13
2.2 Mgande dance between 1937 and 1952 17
   2.2.1 Simati phase 1937 – 1946 19
   2.2.2 Ombeza phase 1947 – 1952 21
   2.2.3 Kandale phase 1953 – 1958 23
2.3 Mganda dance practice: A case study from the Simati phase 25
   2.3.1 The Making of a Boma 25
   2.3.2 Preparation for a performance 30
   2.3.3 The performance 31

Chapter Three
Social functions of Mganda dance songs
3.0 Theoretical framework 35
3.1 Social functions 36
   3.1.1 The Function of recreation and aesthetic enjoyment 38
   3.1.2 The Function of emotional expression 40
   3.1.3 The Function of cohesion: Education and conformity
             to social norms 42
      3.1.3.1 Political commentary 44
      3.1.3.2 Economic commentary 47
      3.1.3.3 Social commentary 49
3.1.4 The Function of contribution to social and cultural stability 59

Chapter Four
Literary features of Mganda dance songs
4.0 The Song as lyric poetry 61
4.1 Techniques of song composition 63
4.2 Forms of singing 67
   4.2.1 The A – B form 68
   4.2.2 Solo and chorused refrain 69
   4.2.3 Mixed sectional form 70
4.3 The Nature of poetry 73
    4.3.1 Emotive sounds 74
   4.3.2 Idiophones and onomatopoeias 77
   4.3.3 Repetition 80
      4.3.3.1 Anaphoric repetition 82
      4.3.3.2 Incremental repetition 82
      4.3.3.3 Parallelism 83
   4.3.4 Language   
      4.3.4.1 Linguistic borrowing 85
      4.3.4.2 Euphony 87
      4.3.4.3 Imagery 88
      4.3.4.4 Euphemism 90
      4.3.4.5 Allusions 91
      4.3.4.5 Rhythm 92

Chapter Five
Conclusion 95

Footnotes 97
Bibliography 100
Interviews 104
Appendix 105

CONTENTS

Chapter 1
Introduction
1.1. Introduction 1
1.2. Popular music 2
1.2.1. Artist versus musician 3
1.3. Music industry 4
  1.3.1. Local versus global music industries 4
1.4. Music in Zambia 5
1.5. Goals of this research 6

Chapter 2
A theoretical and historical framework within which to contextualize the Zambian music industry
2.1. Introduction 8
2.2. Pierre Bourdieu and cultural studies 8
  2.2.1. Bourdieu’s concept of fields 9
  2.2.2. Bourdieu’s concept of habitus 11
2.3. An application of fields and habitus 13

Chapter 3
Bourdieu’s concepts in relation to the music industry on a global, African and Zambian level
3.1. Introduction 15
3.2. Globalization 16
3.3. World music 16
  3.3.1. Negative effects of “world music” 18
3.4. Digital advancements 19
3.5. Brief contextualisation of the global music industry 22
3.6. An overview of the African music industry 22
3.7. Brief exploration of music in the SADC region 24
3.8. An overview of the Zambian music industry 25
   3.8.1. The ‘Zambian sound’ 27
3.9. Piracy 28
3.10. Conclusion 30

Chapter 4
Methodology
4.1. Introduction 31
4.2. The use of qualitative research methods 32
4.3. Setting and study informants 33
4.4. Data sources and collection procedures 34
4.5. Internal validity 35
4.6. Triangulation 36
4.7. Limitations of qualitative research 37
   4.7.1. Research experiences: the emic and etic perspectives 37
4.8. Ethical considerations 40
4.9. Conclusion 40

Chapter 5
Institutions surrounding the music industry
5.1. Introduction 41
5.2. The Zambia Association of Musicians (ZAM) and Zambia
        Music Copyright Protection Society (ZAMCOPS) 42
  5.2.1. Zambia Association of Musicians (ZAM) 42
  5.2.2. The National Arts Council (NAC) 47
5.3. Zambia Music Copyright Protection Society (ZAMCOPS) 48
  5.3.1. Challenges faced by ZAMCOPS 48
  5.3.2. Royalty collection 49
5.4. Role of government in the music industry 50
5.5. Corporate support 54
  5.5.1. Generation of income for businesses linked 
            to the music industry 55
5.6. Experiences from other countries 55
5.7. Societal perspectives of music 57
5.8. Conclusion 60

Chapter 6
Production and distribution
6.1. Introduction 62
6.2. History of production and distribution in Zambia 62
  6.2.1. Role of radio 65
    6.2.1.1. Procedure of getting music on the airwaves 66
    6.2.1.2. Payola for more airplay 67
    6.2.1.3. Early use of Zambian music on the airwaves 69
    6.2.1.4. Censorship 69
  6.2.3. Television shows 70
  6.2.4. Music charts 71
  6.2.5. Music videos 75
  6.2.6. Albums 76
  6.2.7. Live performances 77
6.3. Online methods 78
  6.3.1. Online magazines 78
  6.3.2. Online music for purchase or free downloads 79
  6.3.3. Profile pages 79
  6.3.4. Online purchases 80
  6.3.5. Challenges of distributing music 82
6.4. Conclusion 82

Chapter 7
The creative process of music production
7.1. Introduction 84
7.2. Early development of musical interest 84
  7.2.1. Official musical training 84
  7.2.2. Self-taught 86
7.3. Groups versus solo musicians 87
  7.3.1. Sources of income 89
  7.3.2. Merchandise 91
  7.3.4. Collaborations 91
7.4. Management of artists 93
  7.4.1. The role of managers 93
7.5. Record labels and studios 96
  7.5.1. Home studios 96
  7.5.2. National studios 97
  7.5.3. Challenges experienced by studios 97
  7.5.4. Contracts 100
7.6. Challenges experienced by musicians 103
7.7. Conclusion 105

Chapter 8
Concluding remarks
8.1. Introduction 107
8.2. Fields and habitus 107
8.3. Challenges within the industry 108
8.4. Methods to build a career 109
8.5. Conclusion 111

Appendix viii
List of interviewees and respondents ix
Abbreviations xi

CONTENTS

(i) Dedication 6
(ii) Acknowledgements 7
(iii) Introduction 8

Part One
The Evolution of Zambian Music 11

1. The genesis 12
2. The great old folks 14
– ‘Guitar men of the 1950s and 60s’
3. Era of Imitation 29
– ‘The Swinging 60s and early 70s’
4. The birth and growth of zamrock 38
– ‘The mid-70s to the late 80s’
5. Discomania 48
– The youth craze of the 80s
6. Kalindula Music 55
– Back to the roots -1980s to the 1990s
7. Zambian reggae scene 70
8. Zambian women in music 90
9. Zambian rhumba 121
10. Gospel music 131
– Old wine in new a barrell
11. Trials and tribulations of the 1990s 152
12. Other voices, other choices 168
13. They came to Zambia 192
14. Into the new millennium 205
15. Revelations 225
– 2011 and Beyond: Most promising stars

Part Two
Galaxy of Superstars 228

1. Tinkles – Poineers of the Zambian recording industry 229
2. Witch – Zam-rocking with havoc 232
3. Musi-O-Tunya – The thundering afro-rythmns 239
4. Rikki Ililonga – Poetics… Politics and superstardom 242
5. Keith Mlevhu – God Father of zam-rock 250
6. Ricky Banda – The master bassist 259
7. Paul Ngozi – The pied-piper of zam-rock 261
8. Smokey Haangala – Gifted musician, singer and writer 266
9. Teddy Chisi – The ‘Limbikani’ man and singing accountant 271
10. Teddy Chilambe – The hit making folk singer and miner 272
11. Nashil Pitchen Kazembe – King of Zambian rhumba 276
12. P K Chishala – ‘Professor’ of controversial hits 279
13. Alfred Kalusha Chisala – father and son legacy 282
14. Ackim Simukonda – Man with a velvet voice 284
15. Cosmos Zani – Master of the keyboards 287
16. Mike Nyoni – Smooth singing zam-music giant 290
17. Lazarus Tembo – The folk giant of vision and sound 292
18. Anna Mwale – God mother of the Zambian music scene 294
19. Larry Maluma – Musical ambassador to Australia 297
20. Amayenge – Leaders in Zambian authentic vibes 301
21. Emmanuel Mulemena – Our man of great eminence 308
22. Mulemena Boys – Keeping the legacy alive 314
23. Masasu Band – The great kings of manchancha 317
24. Serenje Kalindula – Kings of kalindula music 321
25. Shalawambe – Giants of authentic sounds 323
26. Oliya – Youthful, energetic and talented band 326
27. Patrick Chisembele – Whiz kid of song and dance 329
28. Air Power – ‘That’s the way we get by …’ 332
29. Distro Kuomboka – ‘Moving on with authentic sounds’ 334

Part Three
Legends behind the Scenes 336

1. Edward Khuzwayo: Man behind The Zambia Music Parlour 337
2. Teal Record Company 339
3. Malachite Film Studios 343
4. Chisha Folotiya: Mr. Mondo Music 344
5. MUVI Studios 347
6. DB Studios: Lusaka’s first private studio 350
7. Peter Musungilo: Legendary sound engineer 351
8. Print journalists 353
9. Music promoters 357
10. ZNBC: Mother of the Zambian music industry 359
11. Mission Press audio/video studio 368

Part Four
Voices from the Diaspora 370

Ellly ‘White’ Zulu 372
Flinto Chandia 372
Steve Banda Kalenga 373
Eddie Manda 374
Muriel Mwamba 374
Patricia Kaoma 377
Ken Simuyemba 378
Chasaya Sichilima 379
Prudence Sinkala 384
Chilu Lemba 388
James Mbewe 387
Rozalla Miller 389
Warren Mills 390
Samantha Mumba 390
Hil Street Soul 392
Simwinji Zeko 393
Bina Nkwazi 394
Bwalya Chimfwembe 395
Barbara Kayonde 397

Part Five
Quotable Quotes 398

Stardom and greatness 399
Music as a career 399
Record sales 402
Music and culture 403
In memory of … 405
Personal / Lifestyle 406
Music and fashion 407
Government support /Recognition 408
Politics 409
Music and economy 410
HIV / AIDS 411
Songs / Albums 412

CONTENTS

Preface i
The researchers ii
List of tables iii

Introduction 1

1. The song of the male moraliser 15
Who is singing about whom 15
The portrayal of antagonism 19
The extent of moralising 20
Support for matrimony 23

2. The explicit image: woman as trouble 27
The gender division of misbehavior 27
The gender division as the source of marital problems 30

3. Recognising the underlying rules of gender relationships 33
The distinction between subject and object 33
The songs’ hidden agenda 36
Subject-object analysis of song performance 37
Positive and negative subjects 39
Overall analysis of song content 41

4. The songs’ patriarchal message: Woman know your place 45
Explicit and implicit male chauvinism 45
The image of the single woman 47
The image of the married woman 51
Contradictory examples of independent women 53
The image of the male singer  55
The image of the misbehaving man 56
The image as ideological message 59

5. Coercion and ideology in the service of patriarchy 61
Persuasion versus coercion 61
The song as coercive message 61
The problem of legitimation 63

6. The implications of the message 67
The ideological importance of the song 67
The domestic position of women 68
The implications for action 69

7. The extent of public awareness 73
Investigation of attitudes in three different areas 73
Listeners’ attitudes 74
Musicians’ attitudes 76
Press treatment 81

References 86

Appendices 87
A: Glossary of terms used 87
B: Findings from the attitude questionnaire 93
C: Example of an interview with a musician 102
D: Song texts (Vernacular and English) 103
E: List of song titles 265

CONTENTS

The opinions expressed are those of the Author alone

Preface vii
Introduction 1
Kalela 1
The dancing teams 9
The song 5
The origin of the dance 9
Mbeni 10
Prestige and the ‘European way-of-life’ 11
Tribalism in towns 18
Tribal distance 22
Tribalism and categorical relationships 28
Tribalism and urban administration 31
Joking tribes in towns 35
Kalela in the urban situation 42

Appendix I
Occupational prestige ranking  43
Appendix II
Ranking of tribes from the point of view of different ethnic groups 46

Bibliography 50

Frontispiece
A Kalela Dance in progress in the Luanshya Management Board Location, 17th June 1951

CONTENTS

Dedication i 
Contents ii
Preface iv
Acknowledgements v
Quote vi

1. Introduction 1
1.1 Copyright 1
1.2 Performance rights 3
1.3 Protection of copyright and performance rights 3
1.3.1 Infringement 3
2. Legal framework 7
2.1 Historical Background 7
2.2 Overview of the law 10
3. Piracy 19
3.1 Definition 19
3.1.1. Infringement as piracy  21
3.2 Prevalence 23
4. Effects of piracy 28
4.1 Victims of piracy 28
   4.2 Effects of piracy 29
   4.2.1. Economic effect 29
   4.2.2. Cultural effect 30
   4.2.3. Intellectual and social effect 32
5. Towards eradicating piracy 34
5.1 Efforts to curb piracy 34
   5.1.1. Enactment of copyright 34
   5.1.2. Amendment to customs and excise act 35
   5.1.3. Raids 35
   5.1.4. Information to public 37
   5.1.5. Ratification of international conventions 37
   5.1.6. Reciprocal representation agreements 37
   5.1.7. Awareness amongst enforcement agencies 38
5.2 Status quo 38
5.3 Recommendations 39
   5.3.1. Political will 40
   5.3.2. Strengthening the law 41
   5.3.3. Institutions 41
   5.3.4. Awareness campaigns 45
   5.3.5. Law enforcement agencies 46
   5.3.6. Partnership with IFPI 48
5.4 Conclusion

Bibliography 52

CONTENTS

Chapter One 
1.0 Introduction
1.1 History of copyright 5
1.2 Justification for protecting copyright in music 6

Chapter Two
2.0 Piracy 9
2.1 Socio-economic and cultural implications 16
2.2 Systems in place to fight piracy 18

Chapter Three
3.0 Role of collective management of copyright- Zambia 
      Music Copyright Protection Society (ZAMCORPS) 22
3.1 Socio-economic and cultural implications 25
3.2 Payment of royalties 28

Chapter Four
4.0 Analysis of the provisions of The Copyright and 
      Performance Rights Act, 1994 31
4.1 What constitutes infringement? 32
4.2 Enforcement mechanisms 34

Chapter Five
5.0 Conclusions and recommendations 41
5.1 Lack of proper knowledge and understanding
      of copyright laws 41
5.2 Piracy 41
5.3 Poor enforcement 42
5.4 Technological advances 43
5.5 Ineffective Music promoters 43
5.6 Lack of political will 44
5.7 Recommendations 45

CONTENTS

Dedication ii
Copyright notice
Author’s declaration
Approval certificate
Acknowledgement vi
Abstract vii
Table of contents ix

Chapter 1
Introduction
1.1 General 1
1.2 Statement of purpose 1
1.3 History of the Lala 3
1.4 Definition of terms 4
1.5 Justification 4
1.6 Methodology 5
1.7 Theoretical framework 6

Chapter 2
Literature review
2.1 General 9
2.2 Popular music 9
2.3 Development of popular music in Zambia 11
2.4 Kalindula as a popular music 17

Chapter 3 
The social aspects of Serenje Kalindula popular music 
3.1 General 20
3.2 Social functions of popular music 21
   3.2.1 Sociopolitical context 25
   3.2.2 Socioeconomic context 29
   3.2.3 Sociocultural context 32
   3.2.4 Music and dance 39

Chapter 4
Some literary aspects of Serenje Kalindula popular music
4.1 General 42
4.2 Songs as poems 42
4.3The poetic nature of Serenje Kalindula popular genre 44
   4.3.1 Form 44
   4.3.2 Style 45
   4.3.3 Sound 46
      4.3.3.1 Emotive sounds 47
      4.3.3.2 Onomatopoeia 48
   4.3.4 Repetition 49
      4.3.4.1 Anaphoric repetition 51
      4.3.4.2 Incremental repetition 51
   4.3.4.3Parellelism 52
   4.3.5 Language 53
      4.3.5.1 Language borrowing 53
      4.3.5.2 Euphony 54
      4.3.5.3 Allusions 54
   4.3.6 Imagery 55
   4.3.7 Figure of speech 57
      4.3.7.1 Metaphor 57
      4.3.7.2 Simile 58
      4.3.7.3 Irony 59
      4.3.7.4 Metonymy 59

Chapter 5  
Conclusion
5.1 General  61
5.2 Summary 61
5.3 Recommendations 65

Bibliography 68

Appendix A
(i) Serenje Kalindula song texts (Lala/Bemba) 75
(ii) Serenje Kalindula song texts (English translation) 88
Appendix B
Interview schedule for surviving/founder member of the band 100

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CONTENTS

Foreword to the first edition by B. W. Andrzejewski ix
Foreword to the 1996 edition by Abdilahi Qarshi xi
Preface to the first edition xv
Preface to the 1996 edition xxiii

1. Introduction
The social context 1
The Nature of Traditional Pastoralist Poetry 12
The Historical Development of Modern Oral Poetry 17

2. The Family of Miniature Genres
The Nature of the Family of Miniature Genres 27
The Poetry of the Miniature Family 32

3. The emergence of the Belwo
The Historical Background 49
The Belwo is Born 53
The Poetry of the Belwo 59

4. The Heello: Period One
The Metamorphosis: Belwo to Heello A 75
The Modem Poem: Heello A to Heello B 82

5. The Heello: Period Two
The Historical Background 95
The Poetry of the Second Period 103

6. The Heello: Period Three
The Historical Background 117
The Poetry of the Third Period 146

7. Characteristics of the Heello: All Periods
Themes Common to All Periods 175
Structural Characteristics and
Development Common to All Periods 190
The Impact of Media on Modern Poetry 208

8. Conclusion
The Inheritance of the Heello 215
Forces Behind the Success and Development of Modern Poetry 216

CONTENTS

Foreword by Banning Eyre ix
Introduction 1

Part 1 Early Days
1 The Birth of Afrobeat 27
2 Joe Mensah Remembers 41
3 Fela in Ghana 49
4 Stan Plange Remembers 29

Part 2 Confrontation
5 Kalakuta is Born 67
6 “JB” Talks about Fela 73
7 The Kalakuta Republic 81
8 The Black President 114
9 Amsterdam and After 125

Part 3 Retrospect
10 Mac Tontoh on Fela 139
11 Frank Talk about Fela 152
12 Obiba Plays It Again 165
13 Smart Binete Sorts It Out 174
14 Anku Checks Out the Beat 178
15 Nana Danso Orchestrates 183
16 Some Early Afro-Fusion Pioneers 197
17 Interview with Fela 204
18 Afterthoughts and Updates 209
19. Felabrations at Home and Abroad 238

Chronology 259
Notes 269
Selected Bibliography 281
Discography 285
Appendix A: “Shuffering and Shmiling” Score 303
Index 309

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CONTENTS

AFRICA

The North and West
Introduction: Peter Gabriel 1
Libya 3
Tunisia 5
Algeria 6
Morocco 13
Mauritania 16
Senegal 17
Mali 20
Guinea 26
Guinea-Bissau 29
Cape Verde 29
Sierra Leone 31
Côte d’Ivoire 32
Ghana 34
Togo and Benin 36
Nigeria 37

Central Africa, The South and East
Introduction: Manu Dibango 42
Cameroon 44
Zaire 49
Congo 56
Gabon 56
Angola 57
Zambia 58
Mozambique 59
Zimbabwe 60
South Africa 65
Madagascar 70
Mauritius and Reunion 71
Tanzania and Zanzibar 72
Kenya 74
Uganda 76
Burundi 76
Ethiopia 77
Sudan 79

TABLE DE MATIÈRES

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