| Worldbeat | |
|---|---|
| Stylistic origins | World music Traditional music roots music Pop rock Indie rock |
| Cultural origins | Mid 1980s, United States, United Kingdom |
| Typical instruments | Widely variable, though drums or percussion are constant |
| Mainstream popularity | Occasional, though not generally sustained |
| Subgenres | |
| Afrobeat | |
| Fusion genres | |
| Afro-Cuban jazz - Afro-juju - Bhangragga - Biguine moderne - Burger highlife - Calypso-style baila - Campursari - Canto livre - Canto nuevo - Chicha - Chutney-bhangra - Chutney-hip hop - Fuji - Hip life - Lambada - Latin jazz - Merenrap - Mor lam sing - Nueva cancion - Punta rock - Rai pop - Rapso - Reggae highlife - Salsa - Sevillana - Slack-key - Songo - Zam-rock - Zouk - Bouyon | |
| Other topics | |
| World music - folk music | |
Jaiva or Township Jive ("TJ") is a sub-genre of South African township music and African danceform [1][2] which has influenced Western break dance[3] and emerged from the shebeen culture of the apartheid era townships Jaiva obtained international prominence with the 1986 release of Paul Simon's "Graceland" album which featured the track Township Jive[4] with Miriam Makeba and Ladysmith Black Mambazo.
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[5] While closely associated with umbaquanga, Township Jive more broadly incorporates some influences from mariba and kwaito[6] rather than umbaquanga, neither of which is it synonymous. To the extent mariba influences TJ, it may be somewhat sanitized as TJ broke into the international commercial arena.[7]
Also featured on the Graceland album were The Boyoyo Boys, who received additional press coverage when Malcolm McLaren allegedly plagiarized their song "Puleng" and released it as the hit "Double Dutch," capitalizing on the emergence of breakdance and hip-hop.[8]
Additional momentum for world beat attention to South African music developed as a result of international attention to the demise of apartheid and Nelson Mandela's 70th birthday concert in Wembley Stadium, London in 1988
According to Ambrose Ehirim, a US based Nigeria specialist,[8] township music traces to the fifties when it was proscribed by South African police.[9] This is contradicted by the assertion of "white Zulu" anti-apartheid activist Johnny Clegg,[10] that "by the 1960's, the development of umbaqanga hadn't even really started". Umbaquanga or Mbaqanga has been characterized as urban pop music "with high-pitched, choppy guitar and a powerful bass line" influenced by "funk, reggae, American R&B, soul and drawing on South African Marabi, gospel music".[11] It draws on both kweli and maribi.[12]</ref>
Township Jive is closely associated with the development of baquanga, umbaquanga or m'baquanga but is distinguished in that it is more closely associated with emergent international trends and not as insular and rooted in tradition as umbaquanga.[13] Christopher Ballantine traces the “shift from imitating American jazz to localizing the sound with African features. This he connects to the emergence of the ideology of New Africanism…” [14] While the international market was absorbing “Township Jive” under the swirl of commercial activity culminating in the McLaren copyright infringement lawsuit and the subsequent release of triumphant BBoy’s new album was preferred amongst a more elite listening audience closely associated with the black diasphora consciousness movements.[15]
The homogenization of Township Jive with US and UK culture, due to Globalization, is viewed by African artists as a threat to the preservation of their local tradition and credibility. Thus, artist focus on maintaining an emotional link between customer and brand. This explains why Transnational corporations are much less interested in homogenizing or Americanizing Kwaito music because true Kwaito represents and dictates South African experience.[16] Americanizing Kwaito, as is many artists' opinion, can potentially dilute the substance Kwaito was originally based on.[17]
On the upside, critical awareness of TJ has enhanced appreciation of fusion artists and others influenced by its style. For instance, Vibration Bookings bills its artist Nomfusi as a proponent of "a new style where South African Township Jive ("Jaiva") meets Motown". [18] And the Boyoyo Boys have, subsequent to the copyright scandal, signed by Rounder Records which released "T. J.[i.e., Township Jive] Today" in 1998.
Audio track Soweto Jive Zambia Association of Musicians website [19]
"Township Jive" clips on web radio [20]
"Jaiva" clip of Dance competition in English and Zulu; note "kwaito" context [1]
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