Miriam Makeba used her voice to entertain, but also to give a voice to millions of oppressed fellow South Africans who suffered as a result of apartheid. The price she had to pay for her actions was high, namely her South African citizenship. After she appeared, in 1960, in the an anti-apartheid documentary Come Back, Africa, the South African regime banned her from returning to her home country and took away her citizenship.
This event didn't stop her from continuing to raise her voice against the apartheid regime. Between 1964 and 1975, as a United Nations delegate of Guinea where she was granted asylum, Miriam Makeba addressed the General Assembly of the United Nations regularly on the tragic developments in South Africa.
Meanwhile she carried on singing, a process in which she put South African music on the map. Over the years Makeba worked with artists as Joe Sample, Stix Hooper, Arthur Adams, and David T. Walker of The Crusaders. In the late 1980's she joined Paul Simon and Ladysmith Black Mambazo during their world-wide Graceland tour and in 1990 she worked with Odetta and Nina Simone for the One Nation tour.
Following Nelson Mandela's release from prison, the citizen of the world Makeba returned to South Africa in December 1990; more than thirty years after she went in exile. In April 1991 she performed her first concert in her homeland in three decades.
The years after were busy ones for Makeba. She starred in the South African award-winning musical Sarafina! , about the 1976 Soweto youth uprisings, playing the role of the title character's mother. She then reunited with her first husband, trumpeter Hugh Masekela, for the Tour Of Hope. She also performed at the Vatican's Nevi Hall during the world-wide broadcasted show, Christmas In The Vatican. In 2000 Makeba released the grammy-nominated Homeland, her first studio album in a decade. In 2002 she shared the Polar Music Prize with Sofia Gubaidulina, in recognition of her exceptional achievements in the creation and advancement of music.
After her return to South Africa Miriam Makeba recorded over ten albums. In 2004, at the age of 72, she relased Reflections honoring the tenth anniversary of the end of apartheid in South Africa. In that same year Makeba was voted 38th in the Top 100 Great South Africans. She also started a 14 month worldwide farwell tour in 2005, holding concerts in all countries she had visited during her life.
With an impressive career spanning more than four decades Miriam Makeba is, indeed, one of the most respected, loved and cherished treasures in (South) Africa.
On the early morning of 10th of November 2008 she died at the age of 76 after being taken ill near the southern Italian town of Caserta, after performing at a concert against organized crime.
Source: Miriam Makeba, A true South African musical Legend
Discography on last.fm
External links:
Official website
Unofficial website
Movie database
La Bushe
Miriam Makeba Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
La Bushe
There's dance (There's dance)
They are doing in the Congo (In the Congo)
And I'd love (And I'd love)
To show you how the steps go (Where they go)
The Congo Bushe (La Bushe)
This is the Bushe (La Bushe)
The Congo Bushe (La Bushe)
To begin (To begin )
Count 8 and then you clap hands (Clap your hands)
Don't be shy (Don't be shy)
It's the rhythm from the homelands (From the homelands)
Ah hah the Bushe (La Bushe)
Come along and Bushe (La Bushe)
This is the Bushe (La Bushe)
Let's do the Bushe (La Bushe)
Ah hah the Bushe (La Bushe)
Come along and Bushe (La Bushe)
This is the Bushe (La Bushe)
Le Congo Bushe (La Bushe)
You can change (You can change)
Yes and do it on the Left side (On the Left side)
When you turn (When you turn)
Ahh you let the other hip slide (The hip slide)
Oh how they Bushe (La Bushe)
Le Congo Bushe (La Bushe)
This is the Bushe (La Bushe)
Le Congo Bushe (La Bushe)
The Bushe (La Bushe)
Is something we should all know (You all know)
The lyrics of the song Congo by Miriam Makeba talk about a dance called Bushe being done in the Congo. The singer expresses her wish to show how the steps go, inviting the listener to join in. Makeba emphasizes that the dance and rhythm of the homeland should not be ignored or forgotten. The lyrics are quite simple and repetitive, but they highlight the joyful spirit of the Bushe dance.
Bushe is a dance style that originated in the Congo region, which is now the Democratic Republic of the Congo. The Bushe dance is characterized by its flowing movements and rhythmic beats. It is typically performed in groups and involves the use of clapping and body movements. The Bushe dance is an important part of the culture of the Congo and is performed at various social gatherings and celebrations.
The song Congo reflects the vibrant and celebratory nature of the Bushe dance, which is an important cultural element of the Congo. By encouraging listeners to join in and learn the dance steps, Makeba highlights the importance of keeping cultural traditions alive. The repetitive nature of the lyrics and the upbeat tempo create a sense of joy and celebration, making it difficult not to want to dance along.
Line by Line Meaning
There's dance (There's dance)
Dancing is a big part of the culture in the Congo.
They are doing in the Congo (In the Congo)
People are dancing to traditional music in the Congo.
And I'd love (And I'd love)
The singer wants to share this dance with others.
To show you how the steps go (Where they go)
She wants to teach the steps of the dance to others.
This is the Bushe (La Bushe)
The name of the dance is 'The Bushe'.
The Congo Bushe (La Bushe)
It is a traditional dance from the Congo region.
To begin (To begin )
Here are the steps to start the dance.
Count 8 and then you clap hands (Clap your hands)
Start the dance by counting to 8 and then clapping your hands.
Don't be shy (Don't be shy)
The singer encourages everyone to participate in the dance.
It's the rhythm from the homelands (From the homelands)
The beat of the music comes from the cultural heritage of the Congolese people.
Ah hah the Bushe (La Bushe)
This line is a call to action or an exclamation to start the dance.
Come along and Bushe (La Bushe)
Join in the dance and have fun.
You can change (You can change)
There is flexibility in the dance; you can improvise and add personal touches.
Yes and do it on the Left side (On the Left side)
Instructions for a step in the dance, changing direction to the Left side.
When you turn (When you turn)
Another step in the dance that involves turning.
Ahh you let the other hip slide (The hip slide)
The movement is described here for the dancer's hip to slide with the turn.
Oh how they Bushe (La Bushe)
Another call to action or exclamation to dance and join in.
Le Congo Bushe (La Bushe)
The name of the dance in French, as spoken in the Congo.
Is something we should all know (You all know)
The singer believes that it's important to learn about other cultures; the Bushe is one example of the beauty found within Congolese culture.
Lyrics © O/B/O APRA AMCOS
Lyrics Licensed & Provided by LyricFind
Mfundo Piti
on To Those We Love (Nongqongqo)
At the time the song was composed and released all the people mentioned ((Mangaliso) Sobukhwe, (Albert) Luthuli, (Nelson) Mandela, and (Walter) Sisulu were alive. While the three were in prison at Robben Island, Luthuli was not in prison, hence the question to Luthuli asking what "will you do?". Luthuli was the president of the banned African National Congress (ANC). Sobukhwe the president of Pan Africanist Congress (PAC). Mandela and Sisulu occupied executive leadership positions within the ANC at the time of their sentencing to serve life sentences in prison (1964). The same question is asked to all Africans.
Mfundo Piti
on To Those We Love (Nongqongqo)
The lyrics of "To Those We Love" by Miriam Makeba are about the struggles, sacrifices, and resilience of great African leaders who fought for freedom, justice, and equality. The repetitive chorus, "Bahleli bonke entilongweni, Bahleli bonke kwaNongqongqo" refers to how all these leaders, including Sobukwe, Luthuli, Mandela, and Sisulu, are resting in peace or buried in their respective homes. The verses pose questions about their legacy and the continuation of their work, asking "Why, Baba Luthuli? What will you do?" and "What will happen to us, MaAfrica?" These questions are a call to action for listeners to carry on the struggle for freedom and justice.
Junior
on Soweto Blues
The melancholy in her voice
Junior
on Mama
It makes me cry I could not bury my mother cause I was in prison when I ask prison authorities to allow me an opportunity to go and attend the funeral they refused. We always underestimate the role of women
no
on Beware, Verwoerd! (Ndodemnyama)
no
hi! i enjoted. this song. i loved it
Matt Olomu
on Noweva
This is your challenge, South Africans who understand the lyrics of NOWEVER. Do yourselves and Africa a favour. Interpret it.