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On the spotlight with DJ Prince Eskhosini

The well-travelled Imbube ensemble, Black Umfolosi, has been a cornerstone of imbube and isicathamiya genres for the past four decades. 

Known for hits such as Unity as well as Ngikukhulisile Mntanami, Black Umfolosi has held the imbube sector with a chokehold. November 2023 became a memorable month for the group as they celebrated their 41st birthday with a special performance at the Bulawayo Theatre, marking a milestone in their illustrious journey.

Their significant impact and contributions were rightfully acknowledged during last year’s Bulawayo Arts Awards when they were honoured with a prestigious award.

We took time to zone in on the group’s founding members, Sotja Moyo’s daughters, Luzibo “Luchi Shiki” Moyo and Lulamile “Khanxa” Moyo who are now part of the mixed Black Umfolosi group. 

While they may be recognised as Sotja Moyo’s daughters, Luchi Shiki and Lulamile are multi-talented individuals with diverse interests and skills. Luchi Shiki stands out as a ballerina who gracefully performs barefoot, showcasing a unique and captivating form of artistic expression. On the other hand, Lulamile has not only mastered the art of baking cakes but has also delved into creating instrumentals, blending them seamlessly with her involvement in chorale music under Bulawayo Choristers.

Beyond their roles in Black Umfolosi, the duo has evolved into fully-fledged artistes, each bringing their distinctive flair to the creative landscape.

Remarkably, the inclusion of Luchi Shiki and Lulamile expands Black Umfolosi’s female presence, with Thandeka Moyo and Judchelsy Chisare (daughter of long-serving member Austin Chisare) completing the quartet of talented women within the group. This infusion of diverse talents adds a dynamic layer to the ensemble’s musical tapestry.

Below is the interview with Luzibo “Luchi Shiki” Moyo and Lulamile “Khanxa” Moyo.

Q: To what extent did your father influence your decision to become an artiste? 

Luchi Shiki: My artistic journey was profoundly influenced by my father, who played a pivotal role in shaping my path. Growing up, I witnessed his performances and the genuine appreciation people showed for his craft left a lasting impression on me. Initially, I leaned towards dancing rather than music. However, a transformative moment occurred when I watched Beyoncé seamlessly merge singing and dancing during her performances. It was a revelation, and surprisingly, it made me realise that my father, just like Beyoncé, was adept at both singing and dancing. This realisation ignited a passionate fire within me, inspiring me to pursue both aspects of the art form. Beyoncé’s ability to seamlessly blend vocals and dance became a catalyst for my artistic aspirations.

Khanxa: While my father wasn’t the sole reason for my musical journey, his influence played a significant role in shaping my musical preferences. He introduced me to a diverse range of artistes and genres during my formative years, exposing me to the sounds of Dolly Parton, Elton John, Bob Marley, Whitney Houston, Rebecca Malope and more. Despite not playing any instruments himself, his curated musical environment fuelled my passion for playing instrumentals. I found my niche as an acoustic guitarist and marimba player, drawn to the captivating sounds that resonated from the artistes he introduced me to. The diverse musical palette he provided became the foundation for my love of music and instrumental expression.

Q: What is something not widely known about Black Umfolosi?

Luchi Shiki: Many may not be aware that Black Umfolosi served as more than just a renowned musical ensemble. The group actively conducted workshops for vocal training and choreography at their headquarters, Enkundleni Cultural Centre. It was within this creative hub that several individuals, including myself, had the invaluable opportunity to learn the intricacies of becoming artistes. These workshops not only became a platform for honing vocal and choreographic skills but also served as a nurturing ground for aspiring artistes. 

Q. Khanxa, you rejigged Black Umfolosi’s old song, “Siyazigqaja”. 

How did the crowd’s response at Bulawayo Theatre make you feel during your performance?

Khanxa: Experiencing the crowd’s enthusiastic response to the revitalised and contemporary rendition of a classic hit from yesteryears was truly overwhelming. While tasked with writing a new song for the group, my proficiency as a chorale singer and beat-maker outweighed my skills as a songwriter. Fortunately, leveraging my strength in song arrangement, I opted to breathe new life into an old piece. Navigating the process of finding the perfect pitch for the revived song posed its challenges, but in the end, everything fell into place seamlessly. The joy of performing the song and witnessing the audience’s positive reception made it a truly memorable and fulfilling moment.

Q. How  did you become members of Black Umfolosi, considering the group initially consisted of male members only?

Luchi Shiki: My journey into music began long before I fully grasped its complexities, fuelled by a desire to become a musician. However, from the outset, one thing was clear, I didn’t want to be merely recognised as Sotja Moyo’s daughter. I aspired to establish my own identity, understanding the inherent challenges of sharing DNA with a well-known artiste. 

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Yet, I also acknowledged that my story would be incomplete without acknowledging my roots. After releasing several songs that garnered attention, I decided to approach my father with a proposal for collaboration. The envisioned track, titled “Isivivinyo”, resonated with Black Umfolosi, and they extended an invitation for me to join the group in 2017. Embracing this opportunity, I became the first lady to be part of the esteemed ensemble. This collaboration not only strengthened our familial bond but also allowed me to contribute to the legacy of Black Umfolosi while establishing my unique musical footprint.

Khanxa: Black Umfolosi’s tradition of inviting young talents to join their ranks presented an enticing opportunity. Early last year, when vacancies for singers arose, my familiarity with the ensemble’s music from years of listening to their practices and compositions at home, made my decision to join a natural and easy one. Having grown up surrounded by the sounds of the group, I already knew their songs before they were officially published, making the transition into the ensemble a seamless and enriching experience. The shared history and deep familiarity with their musical repertoire also made joining Black Umfolosi a homecoming of sorts, further strengthening the connection between the group and our musical journey.