Jaiva

{{Use British English|date=May 2013}} {{Use dmy dates|date=December 2022}} {{Infobox music genre | name = Jaiva | other_names = Township jive, Soweto jive, Soweto sound, Soweto beat | stylistic_origins = Mbaqanga, kwaito, Western pop music | cultural_origins = 1940s – early 1990s, South Africa | instruments = | subgenres = | fusiongenres = | other_topics = }}

'''Jaiva''', '''Township jive''' ('''TJ'''), ''' Soweto jive''', '''Soweto sound''' or '''Soweto beat''' is a subgenre of South African township music and African dance form<ref name="youtube.com">{{cite web|url=https://www.youtube.com/watch?v=e6Y58CjwsXs |title=Jaiva |date=14 May 2008 |via=YouTube }}</ref><ref>https://www.youtube.com/watch?v=xykC1IP6odU|Tina and Mvuyisi jiving at the Ikamva Lethu centre in Kayamandi South Africa</ref> that influenced Western breakdance<ref>band=Wozani |title= Township Jive |https://www.youtube.com/watch?v=I-pdj9oC_5s</ref> and emerged from the shebeen culture of the apartheid-era townships.<ref>{{Cite news |last=Series |first=The Odyssey |author-link=Wisconsin Public Radio |date=22 October 2021 |title=The Joy Of South African Township Jive |url=https://www.wpr.org/shows/odyssey-series/joy-south-african-township-jive |url-status=live |archive-url=https://web.archive.org/web/20240406192104/https://www.wpr.org/shows/odyssey-series/joy-south-african-township-jive |archive-date=6 April 2024 |access-date=6 April 2024 |work=Wisconsin Public Radio}}</ref>

==Influences and particularity==

While closely associated with mbaqanga, township jive more broadly incorporates influences from mariba and kwaito,<ref>[http://www.ghananaija.com/movies/index.php?option=com_hwdvideoshare&task=viewvideo&Itemid=53&video_id=3823]{{dead link|date=May 2013}}</ref> and is synonymous with none of these. To the extent that marabi influences TJ, it may be somewhat sanitised as TJ broke into the international commercial arena.<ref name="Garland Encyclopedia of Music">{{cite book|last=Stone|first=Ruth|title=Garland Encyclopedia of World Music: Vol. 1|year=1998|publisher=Garland Pub.|location=New York}}</ref>

==Emergence in world music circles== The Boyoyo Boys received additional press coverage when Malcolm McLaren allegedly plagiarised their song "Puleng" and released it as the hit "Double Dutch", capitalising on the emergence of breakdance and hip-hop.<ref name="magazine.biafranigeriaworld.com">Ambrose Ehirim|Sunday, 9 December 2007|The Boyoyo Boys and Township Jive Today |http://magazine.biafranigeriaworld.com/ambrose-ehirim.html</ref>

Additional momentum for world beat attention to South African music developed as a result of international attention to the demise of apartheid and Nelson Mandela's 70th birthday concert in Wembley Stadium, London in 1988.{{Citation needed|date=July 2011}}

==History==

According to Ambrose Ehirim, a US-based Nigeria specialist,<ref name="magazine.biafranigeriaworld.com"/> township music dates to the 1950s when it was proscribed by South African police.<ref>{{cite web|last=Ehirim |first=Ambrose |url=https://samakamusic.blogspot.com/2007/12/boyoyo-boys-and-township-jive-today.html |title=Amazano Music: The Boyoyo Boys and Township Jive Today |publisher=Samakamusic.blogspot.com |date=9 December 2007}}</ref> This has been contradicted by anti-apartheid activist/musician Johnny Clegg,<ref>{{cite web|url=http://everything2.com/title/Johnny+Clegg |title=Johnny Clegg |publisher=Everything2.com |date=27 October 2002}}</ref> who has claimed that "by the 1960s, the development of mbaqanga hadn't even really started". Mbaqanga (or umbaquanga) has been characterised as urban pop music "with high-pitched, choppy guitar and a powerful bass line" influenced by "funk, reggae, American R&B, soul and drawing on South African Marabi, gospel music".<ref>{{cite web|url=http://everything2.com |title=Everything2 |publisher=Everything2 }}</ref> It draws on both kwela and marabi.<ref>{{cite web|url=http://everything2.com/user/StrawberryFrog/writeups/mbaqanga |title=mbaqanga (thing) by StrawberryFrog |publisher=Everything2.com |date=9 January 2002}}</ref>

Township Jive is closely associated with the development of mbaqanga but is more closely associated with emergent international trends and not as insular and rooted in tradition.<ref>Louise Meintjes (1996). Review of Christopher Ballantine 'Marabi Nights: Early South African Jazz and Vaudeville', ''Popular Music'', 15, pp. 245–247 {{doi|10.1017/S0261143000008187}}</ref> Christopher Ballantine traces the "shift from imitating American jazz to localizing the sound with African features. This he connects to the emergence of the ideology of New Africanism".<ref>Christopher Ballantine|Christopher Ballantine 'Marabi Nights: Early South African Jazz and Vaudeville|xxxx|xxxx</ref> While the international market was absorbing Township Jive under the swirl of commercial activity culminating in the McLaren copyright infringement lawsuit, the subsequent release of BBoys' new album was preferred by a more elite audience closely associated with the black diaspora consciousness movements.<ref>{{cite journal|author=Louise Meintjesa1 |url=http://journals.cambridge.org/action/displayAbstract?fromPage=online&aid=2646784&fulltextType=BR&fileId=S0261143000008187 |title=Cambridge Journals Online – Popular Music – Abstract – Marabi Nights: Early South African Jazz and Vaudeville. By Christopher Ballantine. Johannesburg: Raven Press, 1993. xii + 116 pp., taped examples | journal=Popular Music | date=May 1996 | volume=15 | issue=2 | pages=245–247 |publisher=Journals.cambridge.org | doi=10.1017/S0261143000008187 | url-access=subscription }}</ref>

==Globalization== The homogenisation of Township Jive with US and UK culture, due to globalisation, is viewed by African artists as a threat to the preservation of their local tradition and credibility. Thus, artists focus on maintaining an emotional link between customer and brand. This explains why transnational corporations are much less interested in homogenising or Americanizing kwaito music because true kwaito represents and dictates South African experience.<ref>Magubane, Zine. The Vinyl Aint Final "Globalization and Gangster Rap: Hip Hop in the post-Apartheid City". 220</ref> Americanizing kwaito, as is many artists' opinion, can potentially dilute the substance kwaito was originally based on.<ref>Swartz, Sharlene. "Is Kwaito South African Hip Hop? Why the answer matters and who it matters to". May 2003</ref>

On the upside, critical awareness of TJ has enhanced appreciation of fusion artists and others influenced by its style. For instance, Vibration Bookings bills its artist Nomfusi as a proponent of "a new style where South African Township Jive ("Jaiva") meets Motown".<ref>{{cite web |url=http://vibrationbooking.com/nomfusi.html |title=Nomfusi, Manou Gallo, Ernestine Deane, Layori, Batucada Sound Machine – Delicioustunes booking- concerts- management |publisher=Vibrationbooking.com |access-date=1 July 2011 |archive-url=https://web.archive.org/web/20110202222435/http://www.vibrationbooking.com/nomfusi.html |archive-date=2 February 2011 |url-status=dead }}</ref> And the Boyoyo Boys have, subsequent to the copyright scandal, signed by Rounder Records which released ''TJ Today'' in 1998.

== External links==

* Audio track ''Soweto Jive'' Zambia Association of Musicians website<ref>http://zamonline.com/browse_vidfeeders.php?tag=jaive&keyword=Movies{{Dead link|date=November 2018 |bot=InternetArchiveBot |fix-attempted=yes }}</ref> * Township Jive clips on web radio<ref>{{cite web|url=http://www.last.fm/tag/township+jive |title=Township jive music – Listen free at |publisher=Last.fm |date=15 January 2013}}</ref> * "Jaiva" clip of dance competition in English and Zulu; note "kwaito" context<ref name="youtube.com"/>

==Additional scholarly references==

* Charles Hamm (1987). Review of David B. Coplan 'In Township Tonight! South Africa's Black City Music and Theatre', ''Popular Music'', 6, pp. 352–355 {{doi|10.1017/S0261143000002427}} * THE SOCIAL HISTORY OF CAPE TOWN Cape Town: ''The Making of a City: An Illustrated Social History''. Edited by Nigel Worden, Elizabeth van Heyningen and Vivian Bickford-Smith. Cape Town: David Philip, 1998. Pp. 283. Rand 250 ({{ISBN|0-86486-435-3}}). * ''Cape Town in the Twentieth Century: An Illustrated Social History''. Edited by Nigel Worden, Elizabeth van Heyningen and Vivian Bickford-Smith. Cape Town: David Philip, 1999. Pp. 255. Rand 225 ({{ISBN|0-86486-384-5}}). * David Copeland, Cape Town, 1994: ''Operation and impact of Musical Action for People's Progress in disadvantaged communities in the Cape Flats'' * David Copeland, 1985 ''In township tonight! South Africa's black city music and theatre''. London; New York: Longman; Johannesburg: Raven Press, 1985. (French edition, published in 1990 by Karthala) * Barbara Browning (1998) ''Infectious Rhythm: Metaphors of Contagion and the Spread of African Culture'' [Paperback] Routledge * Louise Meintjes' ''Sound of Africa'' (2003) * Gwen Ansell's ''Soweto Blues'' (2004).

==References and notes== {{Reflist}}

Category:South African styles of music Category:Music genres Category:1940s in music Category:1990s in music