HUGH MASIKELA WAS NEITHER “A FREEDOM FIGHTER NOR POLITICAL ACTIVIST”

It is unfair for anyone to think or expect that Tribute to Hugh Masekela was about the celebration of a political icon. Yes, Bra Hugh, as the legendary musician was affectionately called, was …er a highly conscientized politically conscious artist. But he was neither a freedom fighter nor a political activist. More than anything, when it came to struggle politics, he was an armchair critic.

You see, during and after apartheid, he had a lot of things to say about the situation and condition of black people under politicians, both black and white. He was insightful and articulate.

The greatest service that Bra Hugh gave to humanity was to do what he did to the best of his abilities. He performed music that nourished the soul and made people to sing along and dance. His participation and contribution, like most artists, was to create awareness while he enjoyed doing what he loved most: speaking carefree and, above all, providing entertainment. He was a sharp thinker and could easily crack a joke and a meaningful comment.

Yes, he could acutely and correctly portray the background, history and trauma of black coal mineworkers in his hit song, Stimela – Coal Train, for example. But this sing-along was no call to action. It is an infectious and danceable song that moved people to dance and forget about their plight.

He contributed to the campaign, through Bring Him Back Home, to release Nelson Mandela. The low-key post-concert talks to explore Bra Hugh’s position in the Liberation Struggle, nation building and social cohesion are just provocative and meaningless.

I think it is unfair to twist and turn Bra Hugh into a political hero like Nelson Mandela or Steve Biko.

We need to reiterate that Bra Hugh was neither a political activist nor a member of the much vaunted former liberation movement. Essentially, he was an artist, producer, lyrical writer and performer. Perhaps we need to reformulate our understanding and interpretation of Bra Hugh today. However, this critical scrutiny is welcome. His identity and meaning, like everything else, is changing in this New South Africa.

Of course, he performed Soweto Blues following the student upheavals in 1976. What he raised was the absence and failure of black men and fathers to defend and protect their children. I think this is nothing new to everyone with eyes to see. It does not make anyone who sings to point this out a political genius.

Black men, as Steve Biko said, are a shadow of themselves, an empty shelf. They have long surrendered their manhood. And pointing that out does not make Bra Hugh or anyone a political genius. It is an assertion that just forces a nation to look at itself, especially black men, in the mirror.

What amazed me about the sold out series of concerts was the profile of the audience: it compromised of the elite, black middle class and petty bourgeoisie. The prominent politicians and corporate honchos were there, too.

Without taking anything away from his liberation sentiments, it would be unfair for anyone to link Bra Hugh to any serious political struggle to …er, transform and change the attitude of his audience. These are largely black people who have grown relatively comfortable to live in an unjust, unequal and racist society.

What the show brought to the fore was the regression of general liberation sentiments, the active participation and commitment of blacks in the fight and struggle to “free the poor and marginalized.” A casual look at the profile and image of the audience reveals a people who are sick and tired of the struggle and just want to get on with the business to have a good time. It is Struggle Fatigue. The aspiration and desire is always to dress up, show up, mix and mingle and have a good time. Forget about the lingering effects of apartheid and economic injustice.

So, we have to distinguish between Bra Hugh the politically conscious artist and the sought after outspoken radical political artist. But what we cannot afford to miss is that Bra Hugh‘s legacy is very much part of the national mood of this moment. A big part of it is to look how far we have come than where do we go from here.

The ultimate destination of this country is still a protracted process. And this desire for an “egalitarian society,“ a phrase Bra Hugh used in his interviews, faces a myriad of difficulties. The biggest challenge is that black people are willingly part of the system they fought against, now. In fact, they are the managers and protectors of the capitalist economic system now. After all, they have no home-grown alternatives to what exists, except to “work within the system”.

Thus, anyone who feels betrayed or disappointed by the portrayal of Bra Hugh must sit down to think and reflect about who he was. Let us not use Mandela or Biko to judge Bra Hugh. He was, essentially, a politically conscious artist but neither a freedom fighter (in the strict sense) nor a political activist.

However, no one can question that he was a committed patriot that loved his country. He was aligned to the hopes and aspirations of his people. For example, his Thuma Mina hit song was a call for people to volunteer, to do the little they can to improve the quality of life.

Chileshe is anti-tribalism in the spirit of African unity. Again, he founded and supported anti-drug abuse struggles and campaigns. In fact, through his music he saved and inspired lives, especially of the young and ambitious.

There is no doubt that the remembrance and celebration of his life and legacy creates awareness and consciousness about the inequality and injustice that prevails in the country. But nobody should expect Hugh Masekela to be elevated to the status of a Nelson Mandela of musical arts and performance.

Essentially, he was an artist who enjoyed what he did – to create politically aware music – and loved to see his people come together in peace to have a great time.

And a great, memorable time was had by everyone who attended.

A big shout out to the director and producer, James Ngcobo. Mapholoba, siyabonga. And to the musical director and conductor, Sidney Mavundla and all the artists in the lineup