Professor Dizu Zungula Mzikantu Plaatjies is not just a name in African traditional music — he is a living vessel of Mpondoland’s cultural memory. Born in Lusikisiki on 5 February 1959, and shaped by the spiritual and artistic influences of his healer father, Dr. Shadrack Plaatjie, Dizu’s journey is one of deep cultural immersion, political struggle, and global acclaim.
At the time of this interview, Prof. Plaatjies is in Germany, continuing his work as a global representative of Xhosa culture. From his humble beginnings in rural Eastern Cape to performing at world-renowned events like the Nelson Mandela 70th Birthday Tribute at Wembley Stadium, his life’s mission has remained rooted in tradition and upliftment.
A Childhood Rooted in Rhythm
“I was deeply influenced by Indlavini, my aunts, and traditional healers,” says Plaatjies, reflecting on his childhood. “My father ensured we participated in traditional ceremonies like Intlombe, where diviners gather. Even if you’re asleep, the rhythm wakes you up.”
These experiences formed the foundation of his knowledge of iziduko (clan praises), rituals, and indigenous music. It wasn’t just participation; it was a full immersion in the sonic soul of Mpondoland — a way of life that would define his legacy.
Preserving Priceless Traditions
Among the cultural elements Prof. Plaatjies is most passionate about preserving is Umgqokolo, a form of split-tone singing unique to the region. “Also, our instruments like the ibhompolo and imitshingo (flutes),” he adds. “These are priceless aspects of our heritage.”
This devotion to tradition led him to form Amampondo in the late 1970s — a percussion group born from a desire to bring traditional music back to public consciousness, particularly as it was absent from South African radio at the time.
The Formation and Struggles of Amampondo
What began as a street music ensemble soon gained global attention. Amampondo’s music, rich with percussive force and cultural depth, made its way onto world stages, culminating in their performance at Wembley Stadium in 1988.
“That was something else,” he recalls. “We were supposed to perform for 10 minutes — we played for 25. There were political tensions, with the ANC Cultural Desk initially opposing our performance. But Oliver Tambo himself intervened.”
Despite the historic performance, the group faced serious political backlash. “After Wembley, we were boycotted for four years by the ANC’s Cultural Desk. It was painful,” says Plaatjies. “Our world tour was cancelled. Some members became disheartened. We didn’t even know where our next meal would come from.”
Yet out of adversity came transformation.
A New Chapter: Education and Cultural Exchange
In the early 1990s, facing limited support and a need to provide for his family, Plaatjies pivoted to craftwork and textile design, traveling to Swaziland, Zambia, and Malawi. Later, he returned to Cape Town, where he began teaching African music at the University of Cape Town (UCT).
“I felt compelled to become a scholar,” he says. “African music wasn’t being promoted well. There were very few ethnomusicologists from our own continent. That had to change.”
As a lecturer, Prof. Plaatjies helped shape a new generation of African musicians and scholars. “Many of my students now work across South Africa and internationally. They are role models — a living proof of what I hoped to achieve.”
His academic and cultural work has since spanned multiple countries, including Sweden, Norway, and Austria. He continues to perform, lecture, and collaborate with artists from across the globe, including Evangelisto Muyinda of Uganda and Cuban percussionist Changuito (Jose Luis Quintana). These collaborations reinforced the idea that African rhythm is a universal language — a bridge between worlds.
No Support, But No Surrender
Despite his accolades and international work, Prof. Plaatjies is candid about the lack of institutional support at home. “Honestly, I’ve received no support from the government,” he says. “I use half of my salary to continue cultural teaching in communities. But I’ll never stop. This work is too important.”
Indeed, his life’s work is funded not by institutions but by passion and belief — in community, in continuity, and in culture.
Legacy and Family
Plaatjies is a husband and father, grounded not only in culture but also in family. He married Vuyo Mbewu in 2008 and has four children, including Ukwanda and Azile. His legacy extends far beyond bloodlines — it lives in the music, teachings, and cultural artifacts he preserves and shares.
He has released several award-winning albums, including Ibuyambo (2005), African Kings (2008), and Ubuntu – The Common String (2015), the last two earning him South African Music Awards (SAMAs). His ensemble Ibuyambo continues the mission of Amampondo, keeping alive the sounds of handmade instruments and ancestral rhythms.
A Call to Honour Cultural Pioneers
Professor Dizu Plaatjies’s story is a clarion call to South Africa and the continent at large: to honour those who keep indigenous knowledge alive. It is a call to action for institutions, governments, and citizens to invest in cultural preservation not as a nostalgic pastime, but as an essential pillar of identity.
“Tradition is not something of the past,” he reminds us. “It’s the soul of the future.”
From the dusty paths of Lusikisiki to the cobblestone streets of Europe, the journey of proves that rhythm, rooted in identity, can move mountains — and nations.
