May Day Songs

The first day of May was chosen as International Workers’ Day in 1889, initially to commemorate the deaths of workers in Chicago who had been protesting for an eight-hour working day. Since then it has taken on much broader significance, with a continuing focus on workers’ rights and ongoing contests over those rights.

This mixtape does not so much celebrate May Day as it does contemplate the situation of the working class in South Africa in particular. Almost everything we do, from driving along a road to eating our next meal, watching tv, and communicating on our mobile phones, is possible because of the labour of workers. These products we use are especially affordable because workers are paid less than their labour is worth. South Africa is among the most unequal societies in the world, which, apart from the greed of the wealthy, is in part because workers are generally paid poorly, a situation which is exacerbated by what Juluka (in “Work For All”) refer to as the “jobless army at my door”. The millions of unemployed in South Africa push down the wages of those who do work, just because of their availability to take the jobs of those who are employed. Thus there are many members of the working class who, as Freshlyground sing (in “Working Class”) “have got no work”. As simply expressed by Bayete, there is often “No Work” for members of the working class. This situation is captured in “Zabalaza” by Thandiswa Mazwai, who describes the desperation of an unemployed mother: “I rise early in the morning; To stand at street corners; With my child on my back; Asking for money.”
A compilation of South African songs about work of necessity includes songs about migrant labour, which was a core aspect of the creation of a black working class in South Africa. Under colonialism, many black people were forced off the land into a migrant labour system which in many ways came to define the racial segregation system which eventually became formalised as apartheid. Hugh Masekela’s “Stimela” is about the trains which came from neighbouring countries, bringing foreign workers to the South African mines, while Sipho Mchunu’s “Jomane” is about the hostel life to which migrant workers were subjected once they reached their places of employment. In this case, Mchunu refers to workers at a hostel in Dube. Amampondo’s “Apha-Egoli” is about labourers in Johannesburg, many of them presumably there as migrant workers. “Gumboot Dance” by Zim Ngqawana recalls the central part which gumboot dancing has played as a recreational activity for mineworkers. The dance is rooted in traditional South African culture, and, was, and still is, tourism spectacles aside, a therapeutic form of unleashing deep-seated frustration and anger at the terrible conditions under which migrant workers live and work.

“Miner Man” by Babsy Mlangeni and Des Lindberg’s “Mountains Of Men” (written by David Marks when he was working on the mines) focus on the miners themselves. The former tells the story of a migrant worker working on the mines in South Africa, and documents the difficult conditions under which he has to work. The latter song considers that the mine dumps scattered around Johannesburg (in the 1960s, when Marks wrote the song) were not simply made of mined ore brought up to the surface, but were symbolically mountains of men who sacrificed their lives and health for mining profits: “Men slaved and died just to build us a dream; Those men in the mines they worked the earth’s crust; So these mountains are priceless, all be they of dust.”

In the 1980s Shifty Records recorded and released songs by trade union singing groups, and this vital archival project allows us to include some worker songs which would otherwise not have been recorded. Here we have included “Mooi River Textiles” by workers at Mooi River Textiles, two Federation of South African Trade Unions celebratory songs: “ Ke FOSATU” by the Brits Metal and Allied Workers Union, and “Siyabonga FOSATU” by the K-Team, and “Hlanganani” by DTMB, in which the union singers remind workers that there is strength in unity.

In contrast to the mostly black anti-apartheid aligned trade unions there were also racist whites only trade unions, protecting the interests of white workers against those of black workers. Corporal Punishment’s “Brain Damage” is a sardonic song about Arrie Paulus, the leader of the all-white Mineworkers Union. Paulus was well known for spewing racist comments about black South Africans, something with which Corporal Punishment take issue in the song.

Steve Kekana’s “Working Man”, Sipho Gumede’s “Working Man”, and Johnny Mbizo Dyani’s instrumental “Song For Workers” are tributes to workers in general. While Davy James and David Kramer wrote songs in which they explore the idea of work and unemployment respectively, through characters in their songs. Davy James, who drove a bulldozer for a living and was a singer songwriter in his spare time, wrote “Ballad Of A Working Man” about the life of the traditional working man: “Wake up in the morning, put my boots on; Start yawning, I got work to do.” In “Dawid Ryk” David Kramer explores the personal dynamics of a poverty-stricken character who finds himself unemployed, battling to provide for his wife and children.

“Woza Friday” by Johnny Clegg and Sipho Mchunu (in their pre-Juluka days) is a different sort of protest song against the hardship of working life. It is a celebratory love song to the weekend: “Come, come Friday my darling, come, come, Friday my sweetie”.

And as we approach this May Day long weekend in South Africa, we do so with the contribution of workers in mind, both past and present, and the terrible sacrifices they have had to make, and ongoing hardships they have had to endure.

  1. Working Class – Freshlygroun
  2. Working Man – Steve Kekana
  3. No Work – Bayete
  4. Work For All – Juluka
  5. Mooi River Textiles – Mooi River Textiles
  6. StimelaHugh Masekela
  7. Zabalaza – Thandiswa Mazwai
  8. Working Man – Sipho Gumede
  9. Siyabonga Fosatu – K-Team
  10. Woza Friday – Johnny And Sipho
  11. Gumboot Dance – Zim Ngqawana
  12. Apha-Egoli – Amampondo
  13. Hlanganani – DTMB
  14. Jomane – Sipho Mchunu
  15. Ke Fosatu – Brits Mawu
  16. Brain Damage – Corporal Punishment
  17. Mountains Of Men – Des Lindberg
  18. Miner Man – Babsy Mlangeni
  19. Dawid Ryk – David Kramer
  20. Ballad Of A Working Man – Davy James
  21. Song For The Workers – Johnny Mbizo Dyani

South African Songs About Political Places

Music has the ability to capture moments and sentiments. On occasion it reminds us of places and also of events which transpired in those places. This mixtape includes a selection of musical pieces written about political events which unfolded in specific places in South Africa. Some of these focus on particular events such as the Rivonia Treason Trial, the Mdantsane bus strike, and the Marikana Massacre, while the majority reflect in one way or another on that especially heartless apartheid practice of forced removals: moving people against their will from the place they called home to a different, hostile, and unfriendly place: away from one’s community, away from all the familiar associations of home. Because forced removals were so painful it is no surprise that there are so many compositions about places from which people were forced to move by the apartheid state. Sophiatown, Cato Manor, Crossroads, and District Six are covered in this mixtape . People lost their homes and their communities but held onto their memories … and the songs remain.

One of the songs included here captures the mood of most, if not all, the pieces featured on this mixtape. In Mdantsane in July 1983, in response to severe price increases, a boycott was called, of buses partly owned by the Ciskei government. The apartheid Ciskei security forces, supported by vigilantes, attempted to force people to use the buses, resulting in bloody assaults, injuries and death. Johnny Clegg and Sipho Mchunu wrote the song “Mdantsane” about the bus boycott. They asked, “Why don’t you sing about the African moon; Why don’t you sing about the leaves and the dreams; Why don’t you sing about the rain and the birds?” And they answered, “’Cause mister I’ve seen mud coloured dusty blood; Bare feet on a burning bus; Broken teeth and a rifle butt; On the road to Mdantsane.”

All the musicians on this mixtape similarly chose to document government and employer atrocities rather than to only sing about the leaves and the dreams.

Mzwakhe Mbuli contemplated the apartheid legislative capital, Pitoli, Dolly Rathebe & the Elite Swingsters commemorated the accused at the Rivonia treason trial, and Lesego Rampolokeng and the Kalahari Surfers reflected on the Sebokeng siege. The Junction Avenue Theatre Company (who performed the musical Sophiatown), the African Jazz Pioneers, and Miriam Makeba & the Skylarks all lament the forced removals from and bulldozing of Kofifi/Sophiatown, while Nancy Jacobs & her Sisters sang about people’s reluctance to be moved from Sophiatown to Meadowlands, established by the apartheid state as an alternative township to Sophiatown. In a song named after Soweto, Barry Gilder sings of the struggle to live and work in South Africa, in a society where people were expected to travel vast distances under the migrant labour system, yet whose lives were not valued by business owners and the government. Stimela’s “Soweto save the children” alerted listeners to the detrimental effects apartheid was having on the children of Soweto.

The only song on this mixtape about a post-apartheid atrocity is Lilitha’s mournful “Marikana” about the Marikana Massacre. A reminder that the alliance between the government and capital continues to be problematic, even in a post-1994 government, and an even harsher reminder as to where exactly the state is prepared to draw a moral line.

Sipho Gumede & Pops Mohamed remembered Cato Manor in the Durban area and Juluka documented the violence surrounding the Mdantsane bus boycott. The mixtape ends with a series of songs related to the Western Cape. Winston Mankunku and Mike Perry, Sakhile, Syd Kitchen, and Roger Lucey all contributed songs about the apartheid state’s attack on the residents of Crossroads, targeted for forced removal. “Mooi River Textiles” is a song by workers at that factory, recorded and documented by Shifty Records. Finally Cyril Valentine (with a song from the District Six musical), Hugh Masekela (featuring Corlea) and Abdullah Ibrahim, remember District Six, another area which the apartheid state decided to bulldoze into oblivion and forcibly remove all its inhabitants because they decided to rezone it as a white area.

Sometimes the songs on this mixtape are a mournful and painful reminder of places, and sometimes they recall spirited community togetherness. They often remind us of defiance – that people resisted and continue to resist oppressive laws, policies and actions. Crucially, they are documents of the events that occurred and of the places where they took place. As long as this music plays we cannot be allowed to forget.

  1. Pitoli – Mzwakhe Mbuli
  2. Rivonia – Dolly Rathebe & The Elite Swingsters
  3. Sebokeng Siege – Lesego & Kalahari Surfers
  4. Kofifi Sophia – Junction Avenue Theatre Company
  5. Kofifi – African Jazz Pioneers
  6. Sophiatown Is Gone – Miriam Makeba & The Skylarks
  7. Meadowlands – Nancy Jacobs & Her Sisters
  8. Soweto Song – Barry Gilder
  9. Soweto Save The Children – Stimela
  10. Marikana – Lilitha
  11. Remember Cato Manor – Sipho Gumede & Pops Mohamed
  12. Mdantsane – Juluka
  13. Crossroads Crossroads – Winston Mankunku & Mike Perry
  14. Crossroads – Sakhile
  15. Crossroads – Syd Kitchen
  16. Crossroads – Roger Lucey
  17. Mooi River Textiles – Fosatu Worker Choirs
  18. Heart Of District SixCyril Valentine
  19. District SixHugh Masekela & Corlea
  20. District SixAbdullah Ibrahim