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
Ngicela Indlela
Miriam Makeba Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Iph'indlela? (Hayaya)
Iph'indlela? (Haya yaya)
Sendicel'indlela (Hayaya)
Salani ma-Afrika (Haya yaya)
Sengiyahamba (Haya yaya)
Ngibheka phesheya (Haya yaya)
Kwelabamhlophe (Hayaya)
Iph'indlela mama? (Haya yaya)
Sengicel'indlela (Hayaya)
Iph'indlela mama? (Haya yaya)
Sengicel'indlela (Hayaya)
Wuh salani mawethu (Haya yaya)
Sengiyahamba (Hayaya)
Ngibheka phesheya (Haya yaya)
Kwelabamhlophe (Hayaya)
Sesiyobonana (Haya yaya)
Mhla ngabuya (Hayaya)
Iph'indlela? (Haya yaya)
Iph'indlela? (Hayaya)
Iph'indlela? (Haya yaya)
Sengicel'indlela (Hayaya)
Salani mawethu (Haya yaya)
Sengiyahamba (Hayaya)
Ngibheka phesheya (Haya yaya)
Kwelabamhlophe (Hayaya)
Sesiyobonana (Haya yaya)
Mhla ngabuya (Hayaya)
Iph'indlela? (Haya yaya)
Iph'indlela? (Hayaya)
Hayi iph'indlela bo? (Haya yaya)
Sengicel'indlela (Hayaya)
Salani ma-Afrika (Haya yaya)
Sengiyahamba (Hayaya)
Ngibheka phesheya (Haya yaya)
Kwelabamhlophe (Hayaya)
Sesiyobonana mama (Haya yaya)
Mhla ngabuya (Hayaya)
Iph'indlela? (Haya yaya)
Sengicel'indlela ma (Hayaya)
Iph'indlela? (Haya yaya)
Sengicel'indlela (Hayaya)
Salani mawethu (Haya yaya)
Sengiyahamba (Hayaya)
Sengiya phesheya mama (Haya yaya)
Kwelabamhlophe (Hayaya)
Sesiyobonana bo (Haya yaya)
Mhla ngabuya (Hayaya)
Iph'indlela bo? (Haya yaya)
Sengicel'indlela (Hayaya)
Iph'indlela? (Haya yaya)
The song "Ngicela Indlela" is a plea for direction and guidance. The repeated line "Iph'indlela?" ("Where is the road?") expresses a feeling of being lost and unsure of where to go next. The singer asks for someone to show them the way and lead them on the path to their destination. The verses mention travelling through Africa, looking ahead towards the white mountains, and planning to reunite with loved ones upon returning.
The song captures a sense of longing and wanderlust, as well as a desire for connection and community. The repeated call-and-response structure emphasizes the communal nature of the search for direction, with the singer asking for guidance and the group responding with encouragement and support. The melody is upbeat and joyful, reflecting the hopefulness of the message.
Overall, "Ngicela Indlela" is a joyful and uplifting song about the universal human experience of seeking direction and purpose.
Line by Line Meaning
Iph'indlela? (Haya yaya)
Where is the path? (Let's go)
Iph'indlela? (Hayaya)
Where is the path? (Let's go)
Iph'indlela? (Haya yaya)
Where is the path? (Let's go)
Sendicel'indlela (Hayaya)
Please show me the way (Let's go)
Salani ma-Afrika (Haya yaya)
Stay strong, Africa (Let's go)
Sengiyahamba (Haya yaya)
I am walking (Let's go)
Ngibheka phesheya (Haya yaya)
I am looking ahead (Let's go)
Kwelabamhlophe (Hayaya)
To the land of the white people (Let's go)
Iph'indlela mama? (Haya yaya)
Where is the path, mother? (Let's go)
Sengicel'indlela (Hayaya)
Please show me the way (Let's go)
Wuh salani mawethu (Haya yaya)
Stay strong, brothers (Let's go)
Sesiyobonana (Haya yaya)
We'll see each other (Let's go)
Mhla ngabuya (Hayaya)
When I return (Let's go)
Hayi iph'indlela bo? (Haya yaya)
Is there no path? (Let's go)
Salani ma-Afrika (Haya yaya)
Stay strong, Africa (Let's go)
Sesiyobonana mama (Haya yaya)
We'll see each other, mother (Let's go)
Sengicel'indlela ma (Hayaya)
Please show me the way, mother (Let's go)
Sengiya phesheya mama (Haya yaya)
We're going overseas, mother (Let's go)
Sesiyobonana bo (Haya yaya)
We'll see each other, father (Let's go)
Iph'indlela bo? (Haya yaya)
Where is the path? (Let's go)
Sengicel'indlela (Hayaya)
Please show me the way (Let's go)
Iph'indlela? (Haya yaya)
Where is the path? (Let's go)
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.