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township music
Township music is a genre of South African music that originated in the 20th century (c. the 1920s to the 1960s), and is characterized by its musicians, who were often urban township residents during the Apartheid period in South Africa. Township music’s creation is highly attributed to the presence of segregation during this time, where township music was created in response to the environment of the musicians. Township music mainly entails three different music styles called mbaqanga, kwela, and marabi, each of which has its own unique, respective characteristics, but maintains the same origins.
==History==
The origins of township music in South Africa began from the formation of townships, which are urban residential areas where Africans were authorized to rent houses built by the government during the 1950s.〔Coplan,D: "In Township Tonight!" London, 1985〕 Binns and Nel state in their article that townships were the poor, black residential areas created under apartheid, explicitly revealing that these townships were not for the wealthy Westerners living in South Africa, but for the lower class of South Africa.〔Binns, T and Etienne Nell: " Tourism as a Local Development Strategy in South Africa." The Geographical Journal 168 (2002): 235-47〕 According to Ballantine, legislation was passed during the 1950s to further consolidate the apartheid state, and violent methods of implementation also assisted this along.〔Ballantine, Christopher John. "Marabi nights early South African jazz and vaudeville" Johannesburg 1993〕 In fact, the most serious legislation that was passed for urban black music was the Group Areas Act of 1950, which separated all racially mixed neighborhoods by removing black communities and relocating them on the peripheries into townships.〔 Williams confirms this relocation by describing them as similar to African American ghettos and illustrates the emotion of musicians within the townships as a lack of power, which resulted in the musicians' need to explore alternative music paths.〔Williams, Linda F.: "Straight-Fashioned Melodies": The Transatlantic Interplay of American Music in Zimbabwe." American Music 15 (1997): 285-304.〕 To those who tried to suppress the lower-class Africans, jazz aspired to (among other things) musical and social equality, which was viewed as a form of rebellion during the time, hence its suppression.〔 According to Ballantine, "the white and racist South African state" was forming an ideology and program for separating and turning black South Africans against one another.〔
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