A young Leleti Khumalo in the film Sarafina. The writer writes that the movie's soundtrack was better than the motion picture. Picture: @BackwoodSweeti3/Twitter
Sarafina! is rightfully lauded as a great film here at home and in many parts of the world because of its succinct depiction of the watershed events of June 16 1976.
The South African film is a captivating musical-heightened drama, poignant music and striking choreography- under a cloud of political turmoil in the country.
Released in 1992 the screenplay by Mbongeni Ngema and William Nicholson stars Academy award winner Whoopi Goldberg.
Goldberg portrays the character of inspirational teacher, Mary Masembuko, that enlightens her students at a Soweto high school she just joined about self-worth at the height of apartheid.
The movie also starred a young Leleti Khumalo, a youthful Somizi Mhlongo and Doja Cat’s father, Dumisani Dlamini.
In 1992 the film received a 20-minute standing ovation at Cannes Film Festival.
In its return to the film festival last year, Sarafina! became the first South African film to be selected twice by the Cannes Film Festival.
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There are many other accolades the movie has notched and will probably do so in future.
One thing that’s never spoken about enough when conversing about Sarafina! though, is the soundtrack that came with it.
Sarafina! The Sound Of Freedom is arguably the best film soundtrack from a South African film.
In the same way the motion picture captured the story of the events of June 1976, so did the music on the 11-track album take that story forward in song.
The Lord’s Prayer epitomises Leonardo da Vinci’s words when he said simplicity is the ultimate sophistication.
The lyrics of the ditty is the actual Lord’s Prayer but the way in which its sang gives the words new life.
Freedom Is Coming belted out by a young Khanyo Maphumulo is an infectiously thumping song that, as the title hints, arouses intense expectancy inside of one.
The singing from those backing the leads throughout the album is a reflection of the camaraderie of the youth of June ’76. It’s unquestionably committed.
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Like on the song Sabela, which is a chastisement of a snitch that has sold black lives to the apartheid government for some monetary gains; Thandi Zulu leads the song and is beautifully supported in her statement and singing.
You can’t help but have a sense of sombreness when Safa Saphel’ Isizwe comes on.
The song expresses the pain of oppressed Africans imploring political leaders to do something to change the situation in the country.
The other difficulty to resist being sad is because one tends to think about the scene in the movie where it’s sung by young people in police holding cells as a way of inspiring hope in themselves.
There’s a section of the song where the singers hymn the tune which I found fascinating to not hear poet Mzwakhe Mbuli.
The opening guitar riffs on Vuma Dlozi Lami are so delicious; you want to add to everything you’re having.
The song doesn’t speak to the struggle theme that the album is rooted in, but it’s quite symbolic of how even in the turbulent times of apartheid, there were some moments of joy in black families-at weddings or a variety of traditional ceremonies.
Most of the songs on the album were written by Ngema and there are appearances by icons of African music, Hugh Masekela and Miriam Makeba-she also appears in the film.
Masekela wrote and performed the title track of the film.
Sarafina! The Sound Of Freedom ends off with an encouraging chant from Ngema on Lizobuya, where he recites slogans of emancipation.
Ngema doesn’t necessarily sing on the song, but repeatedly reassures the people.
The importance of this project can’t be downplayed because of the seriousness of the songs and the fragility of the nation at the time it was released in.
There was a need for encouragement for the people as there probably is right now.
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