Good Afternoon
We meet today when our hearts are heavy with the burden of grief and sorrow as we bid farewell to the son of the soil, one of our global icons in the performing arts industry, a towering maestro who carried our flag aloft on the world stage.
For as a long as humanity has existed, one of the mysteries that philosophers, scientists, poets, sages and prophets have been grappling with, is the enigma of the cycle of life and death.
As such, as we walk this earth, one of the morbid certainties that haunt us every day of our lives is when is our appointment with our maker.
It is because of this reason that when a person of Dr Mbongeni Ngema’s stature dies, superlatives such as a giant, a trail blazer, a luminary, a towering icon, a game changer, a larger-than-life personality, are thrown around to describe him or her. However, it is fitting that with the passing away of Dr Mbongeni Ngema we have lost a towering giant, for greatness was his middle name.
Dr Ngema was not born with a silver spoon in his mouth. His journey is a typical rags-to-riches tale. Yet he departs this world completely immortalised. No number of adjectives can adequately describe Dr.Ngema’s genius.
Programme Director, the past week has been like a horrible nightmare from which all of us had hoped we would be woken up. None amongst us wanted to believe the various media platforms when they repeatedly informed us of the sad news of Madlokovu’s untimely death in a car accident. Indeed, our lives have been shattered.
The outpouring of messages of condolences and support from all over the world, confirmed that Madlokovu, as he was affectionately known, did not only belong to his family and South Africans, but he belonged to all humanity.
This is a reaffirmation of ancient wisdom as captured in Chinua Achebe’s Anthills of the Savannah, that “a cock that crows in the morning belongs to one household, but his voice is the property of the neighbourhood.”
That he died after delivering a moving eulogy at the funeral of his close friend and business associate, with whom he had worked for 30 years, testifies to the cruel nature of fate.
As if he had a premonition that death was stalking him along the way on his way back to Durban, in his eulogy Madlokovu spoke of how Mam’Sheila’s death had “taken a part of him with her. “
A few hours later after he uttered these prescient words, he perished in a horrific accident, leaving our universe bereft of a star that shone the brightest.
Today, as we gather here, we have been divested of a global impresario and thespian who stood head and shoulders above others as a composer, musician, playwright, raconteur, theatre producer, choreographer, lyricist all rolled into one.
That he could wear all these hats with effortless ease shows that Dr Mbongeni Ngema was not only a genius, but that he was also versatile.
Affirming Madlokovu’s genius architecture, his long-time Musical Director and Band Leader Eddie Mathibe speaking at his memorial service at the Playhouse on Wednesday, exclaimed “such geniuses come once in a particular lifetime”. Just like Ray Charles, the greatest musical genius of all time, Madlokovu “never worked in just one style but blended and beatified all that he touched”.
As we all know, people who are endowed with such inimitable talent are like a comet that comes once in a century. This is evidenced by the fact that he was true citizen of the world.
He was at home in Nhlwathi, in New York, in Stockholm, in Cote d’Ivoire and in California. His virtuosity was felt by the likes of record producer, songwriter, arranger Quincy Jones who became his good friend and actor, comedian and author Whoopi Goldberg to name but the two.
He was also one with rural communities but could also effortlessly break bread with the upper class of society. Such was his level of refinement, charisma and sophistication.
But, equally, he was at home within the Narazeth Baptist Church and within the Zion Christian Church. He was also a man-about-town and could charm a fish out of water as captured in his timeless classic, Stimela SaseZola. Such was his level of adaptability.
But, to understand Madlokovu’s repertoire as a musician, theatre producer and composer, one has to delve into his history.
That he was born in Verulam in 1955 at the height of apartheid repression when inhumane legislation such as the Group Areas Act had been passed, five years before he was born, shows how, since his birth, his life was interwoven with the tapestry of the struggle and the suffering of African people.
A time of great upheaval in our liberation history, this was when many communities suffered untold humiliation when they were forcefully removed from their land of birth, just because they were Africans.
Needless to say, Dr Mbongeni Ngema’s family was removed from Verulam because that township was reclassified for members of the Indian community only, setting off a chain of events in his life which would find expression in his artistic productions.
As a result of this grand plan of separate development, more than six decades later, long after the architects of apartheids have died, we are still grappling with the impact made by this on our society.
This explains why Madlokovu’s life has always been a story of pushing the boundaries of oppression and redefining the arena and the terrain of the struggle using arts.
That his life was also inspired by the stories of heroism that were told in the rolling hills of Nhlwathi, where his forefathers come from, is also a powerful reminder of what shaped his political consciousness and outlook.
Indeed, Dr Mbongeni Ngema was inspired by the heroic exploits of one of his more illustrious forebears who fought bravely in the epic Sandlwana battle. His great grandfather, Sigcwelegcwele Ngema, of the indomitable Ngobamakhosi regiment of King Cetshwayo, was among those who, in the face of death, shouted: “Uyadela Wen’Osulapho”.
These warriors did not cower in the shadow of death but relished the opportunity to fight bravely to defend their land. For them, “no retreat, no surrender” was too mild a term.
They looked with envy at those who were already in the crucible of the battle. They were warriors of legend, the likes of which the world may never see again.
Through his various acts of bravery, Madlokovu is among the very few who came closest to emulating the feat of iNgobamakhosi. He took over the baton from the pathfinders of the struggle for liberation but used arts as his weapon of choice in his arsenal.
This demonstrates how the complex interplay of history and the people’s lived experiences have a lasting impact on our lives.
But what made Mbongeni Ngema a veritable gem is that he was self-taught and was not a product of the hallowed halls of formal education.
His life is also a story of resilience, tenacity and single-minded pursuit of an idea which cannot be stopped when its time has come.
As history tells us, Dr Mbongeni Ngema spent three months in a garage at the house of the doyen of African theatre, Gibson Kente. If he had given up, maybe he would have not scaled the heights of global excellence in the arts industry.
Having been cast into Kente's play, Mama and the Load he did not look back. Over the years, he would be involved in many plays that he wrote or co-wrote such as Asinamali, Woza Albert, Sarafina, Magic at 4 am and many others.
The common thread in all these plays and productions is that he told stories of a people gallantly resisting an unjust system and struggling to gain freedom, in what came to be known as protest theatre.
In other words, he used the art as a powerful instrument, whose impact together with other pillars of the struggle, would eventually strike a fatal blow on the apartheid edifice.
Of all his plays, Sarafina would become a jewel in the glittering crown of his repertoire after it wowed audiences all over the world, and created a powerful platform for telling our South African story of resilience against apartheid on a global stage.
This tour de force would go on to enjoy several years of uninterrupted runs on Broadway in the USA, an achievement that was unprecedented.
As a result of his outstanding contribution to the global body of art, he won numerous awards and nominations, including Tony Award for Asinamali, Tony Award for Sarafina and was inducted in the New York “Walk of Fame”, Grammy Award nominations. In 2016, 9 May was declared a Duma Ndlovu and Mbongeni Ngema Day in Harlem, New York. 2001 - Ngema's name engraved on City Hall Entrance in Durban alongside Nelson Mandela, Oliver Tambo, and Miriam Makeba
There are many other honours for Madlokovu including his transformation from an abuser of women to speaking out against Gender Based Violence, which was recognized by the Gauteng Social Development Department through the 365 Men’s Award.
Sarafina was also adapted into a movie and became even more popular around the world.
Fellow mourners, if artists are the embodiment of the aspirations of the people, then Dr Mbongeni Ngema was a prophet because he reaffirmed our collective hope through music that freedom was indeed coming tomorrow.
But Dr Mbongeni Ngema was more than a theatre extraordinaire, he was an institution in his own right judging by the number of artists in the entertainment industry that he trained. All of them have become stars in their own right.
Madlokovu was also a workaholic and had exceptional work ethic. Those who worked with him would tell you that he was a hard to please disciplinarian who led by example by being efficient and expecting nothing less from those in slog with him. It was no uncommon to find him beavering away until the wee hours of the morning making magic in the process.
As we honour the memory of our icon, we remember his humanity, his generosity of spirit and his willingness to assist others without expecting anything back.
But, more than anything, while his passing has left us broken, we need to thank the Almighty for giving us him.
As we pay homage to this life well lived, we need to ensure that we pick up the spear and continue where he left of.
The plethora of social challenges facing this country need a new breed of more Dr Mbongeni Ngemas who will use arts as a weapon to rally all of us to fulfil the vision to create a society premised on shared humanity, justice and equality.
As government, we wish to commit ourselves that we will work tirelessly to ensure that we preserve his memory. Let us work in concert to ensure that we fulfil what he said in one interview: “My work will outlive me. 100 years from now people will still be performing, Sarafina”.
Programme Director, perhaps at this juncture, let me emphatically underscore the fact that the Province of KwaZulu-Natal, had taken a view a long time ago to partner with the creative sector, Artists, Musicians and Actors. The partnership assisted government to communicate and mobilise public awareness on various programmes like Road Safety, HIV/Aids, health programmes and others.
Mam Nkosazana Dlamini-Zuma was a subject of heavy criticism when she recognized the influential role of the very artist we are honouring today and utilized his talent to produce a sequel to Sarafina with a strong message on HIV and Aids. It was a very turbulent time and our people were dying. For the record, Mam Nkosazana Dlamini Zuma was correct then to take that approach.
Former Premier of the Province Ambassador Sibusiso Ndebele, together with the late Khaba Mkhize General Manager SABC KZN put together Sxaxa Mbiji, featuring Hhashi Elimhlophe, Phuzekhemisi and Mfazomnyama to drive the message of road safety. He also worked with the likes of Rebecca Malope, Jabu Khanyile, Vuyo Mokoena and many others.
Subsequently former Premier Dr Zweli Mkhize, MEC Mike Mabuyakhulu and many others worked with Madlokovu in creating the KwaZulu-Natal Music House, which was government funded. This was Dr Mbongeni Ngema’s vision to incubate musicians, record and document South African music. Many artists were recorded there.
The KZN Music House was also was created to stop the forced exodus of KZN artists to Gauteng in particular because of lack of opportunities and facilities in the Province. Mbongeni himself had to go to Gauteng to find his voice, and he was on a mission to change that trajectory through KZN Music House.
As government we are not oblivious to the plight of the artists, musicians, actors, producers and many other creative industry practitioners. To honour Madlokovu we are recommitting ourselves to ensuring that we will work even closer with all artists in the Province. Madlokovu’s cry for the betterment of artists have not fallen on deaf ears, and as government we must respond.
As I conclude, I wish to quote from a poem by one of foremost African scholars, Benedict Wallet Vilakazi titled:
Mhla Ngificwa Ukufa
Mhla Ngificwa ukufa
Ngimbeleni phansi kotshani
Duze nezihlahla zomnyezane
Lapho amagatsha eyongembesa
Ngamaqabunga agcwele ubuhlaza
Ngozwa nami ngilele ngaphansi
Utshani bungaphezulu buhleba
“Lala sithandwa , laluphumule”
Ends
For more information contact Head of Provincial Government Communication Bongi Gwala on 072 793 4757 or Joseph Cubai Acting Media Liaison Officer 061 421 5853
Issued by the Provincial Government Communication.
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