Miriam Makeba in 1969 in exile. Rob Mieremet/Nationaal Archief, CC BY Miriam Makeba sang a famous song about the 16 June 1976 uprising in her birthplace, South Africa. The protest was a pivotal point in the fight against apartheid and white minority rule in the country. The song was called Soweto Blues and its opening lines go:
The song recalls the events of that day when South African schoolchildren, marching peacefully in Soweto to protest the imposition of Afrikaans as an official language of instruction alongside English in Black schools, were shot down by the police of the apartheid regime.
Soweto Blues was also the title chosen by my publishers for the cover of my historical research on the politics of South African jazz and popular music.
Many high school students in South Africa – and many of their teachers – were not fluent in Afrikaans, seen as the language of the oppressor. The move was part of a push, dubbed “Bantu Education”, to reduce Black education and cut it off from international opportunities and “subversive” English-language ideas. The system’s architect, Hendrik Verwoerd, had declared that Black children must never be educated above the level of “hewers of wood and drawers of water”.
Soweto Blues is one of the two compositions most closely associated with the events of June 16. The other, Isililo (Tears of Soweto), from Sakhile, was written in retrospect, in 1982, as the group’s co-leader, saxophonist Khaya Mahlangu, reflected on his nightmare memories of Soweto on that day.
But Soweto Blues was written hot, as the news of the massacre reached the world. The story of the song is a story of solidarity with the struggle against apartheid across the African continent.
Ask who composed the song, and the answer is likely to be trumpeter Hugh Masekela and/or his ex wife Miriam Makeba. The song, officially released in 1977 by Makeba, is best-known in the version released on her 1989 album, Welela.
The lyrics are instantly recognisable as being penned by Masekela the rhymer – “Just a little atrocity/Deep in the city”.
But the melody tells a bigger, pan-African story. It was co-written by the trumpeter and guitarist Stanley Kwesi Todd, founder of Ghanaian ensemble Hedzoleh (“freedom”) Sounds.
Masekela was introduced to the west Africans by Afrobeat legend Fela Kuti in 1973, and the collaboration produced three albums led by his name: Introducing Hedzoleh Soundz (1973); I Am Not Afraid (1974); and The Boy’s Doin’ It (1975).
But there were other collaborations between Kwesi and Masekela too, including the 1977 You Told Your Mama Not to Worry. That was recorded in Kumasi, Ghana with Kwesi as co-producer, and released in the US by the new Casablanca label, before that imprint settled into a pop and disco music identity.
Read more: Remembering Hugh Masekela: the horn player with a shrewd ear for music of the day
Makeba came from her exile home in Guinea to record; there were compositions by Masekela and Todd, tunes adapted from tradition, and a title track about exile composed by South African singer and songwriter Letta Mbulu. Soweto Blues closed the A-side. The original album, regrettably, is currently hard to find.
So how did it end up as my book title? It wasn’t my intention.
The main title I wanted was Black Heroes, alluding to a 1976 Tete Mbambisa tune paying tribute to both the young martyrs of ‘76 and to US jazz star John Coltrane. That seemed to me to sum up the relationship between South African and Black American jazz as torches lighting the way to freedom.
But it appeared that “somebody in marketing” didn’t think the two words “Black” plus “Heroes”, would sell. “Aren’t there any other song titles that might be catchier?” A back-and-forth ensued, until Soweto Blues came up. “That’s it! 'Soweto’ always sells!”
The 1976 uprising sparked in Soweto, but spread across the country, from the urban settlements of Langa and Gugulethu in the Cape to the rural villages of the North West province. Parents scoured mortuaries for their dead children, many of whom had apparently been shot in the back. Nobody knows precisely how many died, but the national figure is estimated as well north of 700.
Read more: The legacy of iconic singer Miriam Makeba and her art of activism
And just as the rising itself cannot be narrowed to what happened in Soweto – even if the name “sells” – so the song paying tribute cannot be confined to South Africa alone. It came from a trumpet-player exiled in the US, a singer sheltered by Guinea, and a musician born in Ghana.
Half a century later, the words of the song still have lessons about the events of June 16. The story of its creation teaches too: about a shared African history in which borders did not define humanity.
