WHETHER in central Durban, on the North Coast or in the Midlands of KwaZulu-Natal, Amabhinca are easy to recognise as they stand out from the crowd.
Brentwood pants, Omega sandals, Pringle T-shirts or the multi-coloured towels are some of the trademarks that give them away.
If one has a car, usually a Toyota Corolla known as the Kentucky Rounder, you will hear a Maskandi song blasting through as a demonstration of the love for the genre of music.
Simply put, Amabhinca are a colourful lot and their style is linked to the Maskandi music genre which has taken over the airwaves in recent years.
Its artists have been dominating the charts and often win the song of the year competition on Ukhozi FM - the station that boasts the highest listenership in the country.
It is a genre that has always been associated with cleanliness, good behaviour, showmanship, and respect both by artists and theIR followers.
However, a series of actions, including the brandishing of firearms in full public glare by some followers of the genre, coupled with episodes where skirmishes broke out at concerts leading to the deaths of a number of fans from gunshots, have many worried about the possible infiltration of harmful elements into the genre.
The Maskandi music genre has a rich history, serving as a form of resistance for many years, especially during the Struggle period. While its origins are debated, it is widely agreed that it is a form of music with a strong sense of nationalism.
Its founding members took pride in stating their origins, which varied from a place of birth, the river from which they sourced water, to their chief.
Professor Musa Xulu of Indonsa Yesizwe, a think tank on cultural matters, highlighted the positive aspects of the genre, emphasising its appeal and the sense of identity it evokes from the followers. He explained how in its emergence in the hostels it provided a sense of belonging for migrant labourers.
Xulu did his PhD on the sound and cultural relationships between the old Zulu Amahubo songs and modern Zulu musical styles focusing on choral music, Isicathamiya, Maskandi, Umbhaqanga, Shembe and AmaZayoni.
He explained how the Maskandi genre has evolved over the years, attracting a large and loyal following and how this was reflected in many ways.
"Look at how in demand Maskandi artists were during the campaigns by political parties leading to the May 29 elections. That is because aside from the entertainment value, there is a sense of belonging and identity about the genre," said Xulu.
In explaining the brandishing of firearms, the cultural expert pointed out how, in the old days, young men would carry sticks and shields as a form of attracting attention, especially from love interests.
"The brandishing of guns is a further demonstration of masculinity," he said, adding that this was illustrated by the fact that there were only a handful of female artists as most women were reduced to backing vocalists during performances.
Xulu said it was important to deal with some of the artists’ behaviour to avoid any eruption of violence among supporters.
Professor Nomagugu Mazibuko from the Department of African Studies at the University of Johannesburg concurred on how Maskandi revived a sense of identity for fans and listeners, but noted that while gloating was part of the genre, in recent times it had gotten out of hand, and needed immediate intervention.
“It is important that the stalwarts of the genre step in to diffuse the potential disaster that looms owing to some of the performers. Competition is fine, but in recent times it has become toxic, and the fans have been drawn in," she said.
While Maskandi has been characterised by artists gloating since its inception, many have pointed to the deterioration in which artists hurled insults at each other.
While some are worried about the infiltration of harmful elements into the genre and through Amabhinca, former journalist and events organiser Eric Ndiyane expressed optimism that this would not happen.
The writer of two books on Maskandi artists Mtshengiseni and Mgqumeni, Ndiyane conceded that concerts sometimes had become violent.
"The fact of the matter is when a chap was courting a young lady, he would carry his guitar, compose a song declaring his love, and where there was a rival, would seek to smear him. It has been a defining feature. The rivalry is something very old in the genre," he said.
Regarding the violent incidents, Ndiyane said this had more to do with the lax security in the country, where individuals could roam free with guns undetected.
It has been pointed out that the rivalry had features similar to those of the East Coast and West Coast in the American hip-hop scene, which, at its zenith, claimed the lives of Christopher Wallace and Tupac Shakur in the mid-1990s.
There have been reports of fights and rivalries among maskandi artists in South Africa, too, often due to competition for fame and success, disputes over royalties and payment, personal differences and egos, and accusations of plagiarism and the copying of styles.
Some notable examples include:
* Khuzani Mpungose vs Ntencane: A long-standing feud between two prominent maskandi artists, with both accusing each other of copying styles and lyrics.
* Phuzekhemisi vs Shwi Nomtekhala: A rivalry that led to physical altercations and public dis tracks.
* Ithwasa Lekhansela vs Ofeleba: A dispute over royalties and payment led to a public feud between the two groups. These fights and rivalries often play out in public, with artists using their music and social media to air their grievances. However, some have also used their platforms to promote peace and unity within the maskandi community.