THEATRE REVIEW: Caiphus Semenya - SONGBOOK at Joburg Theatre
Semenya Sa MmaMasai,
Sa Thekgo Ya Mahlo A Mahwibidu,
Mahlo a hwibila a Hwibilela
Go hlabana...
The praise poem, rich in imagery and oral tradition, I introduce this piece to serve as a reminder that Semenya's music has always been anchored in heritage, family and the enduring wisdom of his forebears. This is a way to celebrate not only a remarkable musical career, but also the cultural foundations that shaped one of South Africa's most treasured artists.
Mokgalaka, the praise clan name of the Semenyas, is not merely a musician. He is a living cultural icon whose contribution as a singer, composer, producer and global ambassador for South African music spans generations. Songbook serves as a sonic essay on his life and work, tracing the footsteps of a young Caiphus from the streets of Alexandra Township to the cultural heartbeat of Johannesburg.
One of the most important landmarks in this journey is Dorkay House, the historic building that became a creative sanctuary for black artists during apartheid. For countless musicians, actors and dancers from the 1950s onwards, Dorkay House was more than a rehearsal venue; it was a university of the arts. The production situates Semenya within this rich history and reminds us that many of South Africa's greatest cultural figures emerged from its corridors.
The concert revisits some of the formative moments in Semenya's career, including his participation in Manana: The Jazz Prophet, the first musical by the legendary Gibson Kente. First staged in Johannesburg in 1963, the production featured a young Caiphus Semenya alongside Letta Mbulu and marked an important chapter in the development of black musical theatre in South Africa. The performance also reflects on Semenya's involvement in King Kong, another landmark production that introduced South African talent to local and international audiences and helped define a generation of performers.
What makes Songbook particularly compelling is that the story unfolds largely through Semenya's own compositions. The songs are interpreted by a younger generation of artists, breathing new life into a catalogue that was created decades ago while revealing its enduring relevance. The result is not nostalgia but continuity. The music feels as fresh and urgent today as it did when it was first written.
Among the performers were Amanda Black, Nokukhanya Dlamini, Nathi and Warren Masemola, all of whom brought their own energy and interpretation to Semenya's work. Their performances demonstrated the depth and versatility of his songbook while introducing it to audiences who may know the music but not always the stories behind it.
When Caiphus Semenya finally walked onto the stage, it was the moment I had been waiting for. Over the years I have made it a point to attend productions that celebrate our musical giants. I remember attending Hugh Masekela's Songs of Migration at the Market Theatre in 2011 and Sibongile Khumalo's More Than Three Faces at the Market Theatre in 2016. Those productions remain among my most memorable cultural experiences, and I knew I could not miss this one.
The first words he spoke immediately settled the theatre into a different atmosphere. Greeting the audience in Sepedi, he said: "Dumelang Setšhaba sa gešo, mamohla ke bošego bjo bongwe. Spoken words cannot express how I feel in my heart." The expression "mamohla ke bošego bjo bongwe" carried warmth, gratitude and a sense of occasion. It was his way of acknowledging that the evening was special, not only for him but for all of us gathered there. In that moment, the legendary musician was not addressing us as a distant global icon but as one of our own, speaking directly to his people.
The theatre immediately fell into a state of complete grace. There was no grand performance about him. He thanked the audience for showing up and sharing the evening with him. In one particularly moving moment, he said he wished his friends Hugh Masekela and Jonas Gwangwa were on stage with him. Referring to them affectionately as fellow "Kats", he reflected on a lifelong friendship built on music, brotherhood and collaboration. It was a reminder that South African jazz history was not created by isolated individuals but by communities of artists who inspired and carried one another.
He also spoke about his experiences working with the legendary Quincy Jones, offering glimpses into a career that stretched far beyond South Africa's borders. Yet despite his international success, he remained grounded in the people and experiences that shaped him. He paid tribute to the musicians, mentors and collaborators who influenced his journey and spoke fondly of his wife and lifelong creative partner, Letta Mbulu. Listening to him speak about her, one could hear not only admiration but deep affection and gratitude.
When he performed selections from his vast catalogue, the evening became something more than a celebration of past achievements. It felt like a masterclass for young musicians. Not only for the artists on stage interpreting his songs, but for every musician and music lover in the auditorium. Through his stories and performances, Semenya demonstrated the value of discipline, collaboration, humility and artistic excellence.
What struck me most was how the production positioned Caiphus Semenya not only as a performer but as a witness to history. Through his songs we encountered the story of township life, the rise of black musical theatre, the flowering of jazz culture in Johannesburg, exile, international success and eventual return. His life story mirrors the story of modern South Africa in many ways. Few musicians can claim to have worked across so many generations while remaining relevant to each of them.
The younger musicians on stage did not merely perform his songs; they entered into conversation with them. Their interpretations revealed how timeless the compositions are. The music crossed generations effortlessly, reminding us that great art survives because it continues to speak to new audiences.
By the end of the evening, Songbook revealed itself as more than a concert. It was a love story, a life story and a history lesson woven together through music. It was also a tribute to enduring friendship, artistic collaboration and the power of song to carry memory across generations. Semenya's heartfelt reflections on Hugh Masekela, Jonas Gwangwa and Letta Mbulu transformed the performance into something deeply personal and profoundly moving.
For me, the evening joined a growing collection of encounters with South Africa's musical greatness. Having witnessed Hugh Masekela's Songs of Migration and Sibongile Khumalo's More Than Three Faces, I left the Joburg Theatre convinced that Songbook belongs in the same company. It reminded us why Caiphus Semenya remains one of South Africa's greatest cultural treasures and why his work continues to resonate across generations. For those fortunate enough to witness it, the production was not simply entertainment. It was an encounter with living history.
Khehla Chepape Makgato is a multi award winning visual artist, arts writer and curator. He is a Chief Curator at William Humphreys Art Gallery. He is a chairperson of the South African Museums Association Central (Free State and Northern Cape). He serves on the panel of Acquisition Committee of ArtBank South Africa. He has a Master's Degree in Fine Art from University of Witwatersrand and is completing his PhD in Art and Music at UNISA. He is a Research Fellow in Faculty of Humanities at Sol Plaatje University. Chepape is a 2026 Senior Artist Fellow of Leuphana Institute of Advance Studies at Leuphana University of Luneburg in Germany.
Thank you for the beautiful insights on ntate Semenya's musical journey, I've enjoyed reading the piece❤️
ReplyDeleteThank you so much for your comment and enjoying this piece ❣️
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