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Charise Scrivner
The song became a pan-African liberation song and versions of it were later adopted as the national anthems of five countries in Africa including Zambia, Tanzania, Namibia and Zimbabwe after independence, and South Africa after the end of apartheid. The song's melody is still used as the national anthem of Tanzania and the national anthem of Zambia (Zimbabwe and Namibia have since changed to new anthems with original melody composition).
In 1994,[1] Nelson Mandela decreed that the verse of Nkosi Sikelel' iAfrika be embraced as a joint national anthem of South Africa; a revised version additionally including elements of "Die Stem" (the then co-state anthem inherited from the previous apartheid government) was adopted in 1997. This new South African national anthem is sometimes referred to as "Nkosi Sikelel' iAfrika" although it is not its official name.
"Nkosi Sikelel' iAfrika" was originally composed as a hymn in 1897 by Enoch Sontonga, a teacher at a Methodist mission school near Johannesburg. The words of the first stanza and chorus were originally written in Xhosa as a hymn. In 1927 seven additional Xhosa stanzas[3] were added by the poet Samuel Mqhayi. Sontonga originally composed the hymn in B-flat major with a four-part harmony supporting a repetitive melody characteristic of "both Western hymn composition and indigenous South African melodies."[4] The hymn was taken up by the choir of Ohlange High School, whose co-founder served as the first president of the South African Native National Congress. It was sung to close the Congress meeting in 1912, and by 1925 it had become the official closing anthem of the organisation, now known as the African National Congress.[5] "Nkosi Sikelel' iAfrika" was first published in 1927.[5] The song was the official anthem for the African National Congress during the apartheid era and was a symbol of the anti-apartheid movement.[6] For decades during the apartheid regime it was considered by many to be the unofficial national anthem of South Africa, representing the suffering of the oppressed masses. Because of its connection to the ANC, the song was banned by the regime during the apartheid era.[7]
In 1994, after the end of apartheid, the new President of South Africa Nelson Mandela declared that both "Nkosi Sikelel' iAfrika" and the previous national anthem, "Die Stem van Suid-Afrika" (English: "The Call of South Africa") would be national anthems. While the inclusion of "Nkosi Sikelel' iAfrika" celebrated the newfound freedom of most South Africans, the fact that "Die Stem" was also retained even after the fall of apartheid, represented the desire of the new government led by Mandela to respect all races and cultures in an all-inclusive new era dawning upon South Africa. During this period, the custom was to play "Die Stem" together with "Nkosi Sikelel' iAfrika" during occasions that required the playing of a national anthem.[8][9][10]
In 1996, a shortened, combined version of the two compositions was released as the new national anthem of South Africa under the constitution of South Africa and was adopted the following year. This version uses several of the official languages of South Africa. The first two lines of the first stanza are sung in Xhosa and the last two in Zulu. The second stanza is sung in Sesotho. The third stanza consists of a verbatim section of the former South African national anthem, "Die Stem van Suid-Afrika", and is sung in Afrikaans. The fourth and final stanza, sung in English, is a modified version of the closing lines of "Die Stem van Suid-Afrika".
"Nkosi Sikelel' iAfrika" was the national anthem of Zambia from independence in 1964 until 1973, when the melody was retained but the lyrics replaced by "Stand and Sing of Zambia, Proud and Free".[11]
It was replaced in 1994 by "Ngaikomborerwe Nyika yeZimbabwe/Kalibusiswe Ilizwe LeZimbabwe" (English: "Blessed be the land of Zimbabwe"), but "Ishe Komborera Africa" still remains very popular in the country.
"Nkosi Sikelel' iAfrika" was used provisionally as the national anthem of Namibia at time of the country's independence in March 1990. But soon after, an official contest was organised for a new national anthem. It was won by Axali Doeseb, who wrote "Namibia, Land of the Brave" which was officially adopted on the first anniversary of the country's independence, in 1991.
In other African countries throughout southern Africa, the song was sung by various independence and other movements. It includes versions in Chichewa (Malawi and Zambia). Outside of Africa, the hymn is perhaps best known as the long-time (since 1925) anthem of the African National Congress (ANC), as a result of the global anti-Apartheid Movement of the 1970s and 1980s, when it was regularly sung at meetings and other events.
In Finland the same melody is used as the children's psalm "Kuule, Is taivaan, pyynt t" (English: "Hear, Heavenly Father"). The hymn has appeared in Virsikirja, the hymnbook of the Evangelical Lutheran Church of Finland, with lyrics by Jaakko Lytty.[12]
"Nkosi Sikelel' iAfrika" has a meaning that emerges from the act of performing it. Like all choral performance, from singing a hymn to chanting at a football match, it involves communal participation and interaction. Everybody has to listen to everyone else and move forward together. It doesn't just symbolize unity, it enacts it ... Through its block-like harmonic construction and regular phrasing, "Nkosi Sikelel' iAfrika" creates a sense of stability and mutual dependence, with no one vocal part predominating over the others ... It lies audibly at the interface between European traditions of 'common-practice' harmony and African traditions of communal singing, which gives it an inclusive quality entirely appropriate to the aspirations of the new South Africa ... Enlisting music's ability to shape personal identity, "Nkosi Sikelel' iAfrika" actively contributes to the construction of the community that is the new South Africa. In this sense, singing it is a political act.[13]
Solomon Plaatje, author and founding member of the ANC, was the first to have the song recorded in London, 1923. A Sotho version was published in 1942 by Moses Mphahlele. Rev. John Langalibalele Dube's Ohlange Zulu Choir popularised the hymn at concerts in Johannesburg, and it became a popular church hymn that was also adopted as the anthem at political meetings.
It has also been recorded by Paul Simon and Miriam Makeba, Ladysmith Black Mambazo, Boom Shaka, Osibisa, Oliver Mtukudzi (the Shona version that was once the anthem of Zimbabwe) and the Mahotella Queens. Boom Shaka, a prominent South African kwaito group, formed the anthem in kwaito style, a popular South African genre influenced by house music. The interpretation was controversial, and it was viewed by some as a commercial subversion of the anthem; Boom Shaka countered by stating that their version represents liberation and introduces the song to younger listeners.
South African Idols-winner Elvis Blue recorded an Afrikaans translation of the song with Afrikaans singer Coenie de Villiers entitled "Sengebed" ("Lord's Blessing") on his third studio album Afrikaans.
A proclamation issued by the (then) State President on 20 April 1994 in terms of the provisions of Section 248 (1) together with Section 2 of the Constitution of the Republic of South Africa, 1993 (Act 200 of 1993), stated that the Republic of South Africa would have two national anthems. They were Nkosi Sikelel' iAfrika and The Call of South Africa (Die Stem van Suid-Afrika). In terms of Section 4 of the Constitution of South Africa, 1996 (Act 108 of 1996), and following a proclamation in the Government Gazette No. 18341 (dated 10 October 1997), a shortened, combined version of Nkosi Sikelel' iAfrika and The Call of South Africa is now the national anthem of South Africa.
The South African Broadcasting Corporation played both God save the King and Die Stem to close their daily broadcasts and the public became familiar with it. It was first sung publicly at the official hoisting of the national flag in Cape Town on 31 May 1928, but it was not until 2 May 1957 that government made the announcement that Die Stem had been accepted as the official national anthem of South Africa. In the same year, government also acquired the copyright and this was confirmed by an Act of Parliament in 1959. In 1952, the official English version of the national anthem, The Call of South Africa was accepted for official use.
Nkosi Sikelel' iAfrika was composed in 1897 by Enoch Sontonga, a Methodist mission school teacher. The words of the first stanza were originally written in Xhosa as a hymn. Seven additional stanzas in Xhoza were later added by the poet, Samuel Mqhayi. A Sesotho version was published by Moses Mphahlele in 1942. Nkosi Sikelel' iAfrika was popularised at concerts held in Johannesburg by Reverend JL Dube's Ohlange Zulu Choir. It became a popular church hymn that was later adopted as an anthem at political meetings. It was sung as an act of defiance during the Apartheid years. The first stanza is generally sung in Xhosa or Zulu followed by the Sesotho version. Apparently there is no standard version or translations of Nkosi and the words vary from place to place and from occasion to occasion.
The Xhosa missionary Tiyo Soga appears, but does not speak, in H. I. E. Dhlomo's play about the 1856-57 Xhosa cattle killing, The Girl Who Killed to Save: Nongqause the Liberator. Archival evidence demonstrates that an unattributed song in the play is from a hymn by Tiyo Soga.While this nexus may not constitute evidence of the "genuine intertextuality" that Malvern van Wyk Smith seeks in postapartheid literary historiography, I argue that the (perhaps unwitting) presence of a hymn by Tiyo Soga contributes to the profound ambivalence of Dhlomo's play, which is also evident in Dhlomo's negotiation of colonial accounts of the cattle killing. For writers borrowing the voices of their predecessors, citing or ventriloquizing textual ancestors is as precarious and productive a process as is claiming to hear the voice of literal ancestors for prophets like Nongqawuse. What kind of reading practice can attend to such revenant voices?
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