Buselaphi

Buselaphi Irene Gxowa, better known simply as Buselaphi, is one of the important female voices in South African maskandi. Born in Nongoma, KwaZulu-Natal, she grew up immersed in Zulu musical traditions and began composing and performing in 1993. That same year she became one of the founding singers of Imithente, the pioneering all-female maskandi group formed in Johannesburg by guitarist Simosakhe Mthalane. Alongside Dumisile Manana and Nokwazi Ntuli, Buselaphi helped establish the group’s distinctive combination of tightly woven female harmonies, traditional Zulu storytelling and the rhythmic language of maskandi.

Imithente went on to become one of South Africa’s best-known female maskandi groups, releasing a string of albums and performing internationally. Their repertoire addressed everyday life and social issues, often bringing particular attention to the experiences of women. The group won a South African Music Award for Best Maskandi Album in 2009 for Simqonda Ngqo, an important milestone for female artists working in a traditionally male-dominated genre.

Buselaphi eventually developed a substantial solo career, signing with Gallo Record Company. Her solo albums include Thwal’ Inco, released in 2005, Yibo Laba and Umendo. Her music draws on several traditional forms, including amahubo, imigqigqo and izinkondlo zomakoti, while using maskandi as a vehicle for storytelling, education and social commentary.

Her best-known song, Umendo, explores the emotional and cultural complexities surrounding marriage. The song has subsequently attracted academic attention for its depiction of marriage as a difficult journey, shaped by family expectations, tradition and personal emotion.

Buselaphi was awarded an honorary doctorate in 2018, recognising her contribution to traditional music and cultural heritage. She has also devoted herself to mentoring younger musicians and promoting Zulu culture. Her international career has taken her to France, India, Algeria and elsewhere, while her work continues to position maskandi as both a living musical tradition and a powerful means of education, storytelling and cultural preservation.