Looking up versions of Asikatale because it was one interviewee's favourite song, I found this version by The Spinners from 1988. Hardened by frequent exposure to moving songs, hearing this made me choke up. A combination I think between this being a beautiful song - one of my own favourites to sing, the harmonies and spooky bass, and the total respect The Spinners obviously pay the song with their careful enunciation... 

Many street choirs combine singing this song to commemorate the struggle against apartheid and, at one through revised lyrics, to support the ongoing struggle of people in Palestine.

As a p.s. I noticed that The Spinners sing 'It's gonna take some real men' where we now sing ' real strength'. I wonder what we're singing today, with - like The Spinners - all our passion and the best will in the world, that will sound politically incorrect in the future? Which oppressions are we currently unaware of?


Asikatale
We are the children of Africa, 
And it's for freedom that we're fighting now
We are the children of Africa, 
And it's for freedom that we're fighting now
(Chorus:)
A heavy load, a heavy load, 
It's gonna take some real strength
A heavy load, a heavy load, 
It's gonna take some real strength
We do not care if we go to prison, 
If it's for freedom then we'll gladly go
We do not care if we go to prison, 
If it's for freedom then we'll gladly go
(Chorus)

They took our lands, they took our homes - 
How much longer will they bleed us?
They took our lands, they took our homes - 
How much longer will they bleed us?
(Chorus)
In Soweto, they shot us down, 
But we will stand up united
In Soweto, they shot us down, 
But we will stand up united
(Chorus)
(Zulu:)
Asikatali, nomas'ya bozh, sizimiseli nkululeko
Asikatali, nomas'ya bozh, sizimiseli nkululeko

(Chorus:)
Unzima lomtwalo, ufuna madoda
Unzima lomtwalo, ufuna madoda
(Chorus - in English)

Transcribing all these interviews with street choir members is really hard work... But doing it ourselves, listening again and painstakingly two-finger typing almost every word and be faithful to the meaning of the communication, that's vital, we think. And as you slog away you are constantly rewarded with fascinating insights that rekindle the research flame, making you wan to understand more. For example this morning, I transcribed this:

‘I mean, I had thought about joining - there is a Pride choir, you know, there’s a Rainbow Choir here in Leicester. Although I’m still very pleased to be with Red Leicester, really, because I think, to be honest, I think Red Leicester’s  politics are probably more mine… I don’t know the Rainbow Choir very well, but I feel more confident about Red Leicester’s sort of solidarity really, as a left-wing choir. I think probably the Rainbow Choir would be more mixed: I suspect; I might be wrong but… So, for me, politics was always the most important, really.’

I think Leicestershire Rainbow Voices are now defunct, but there a Midlands, Birmingham based Rainbow Voices

Re-Reading David Graeber's 'The Democracy Project' about Occupy Wall Street (OWS), which in such turbulent times now seems a lifetime ago, two quotes stood out for the Campaign Choirs Writing Collective project, the book 'Singing For Our Lives' which will be published next year by wonderfully supportive publisher HammerOn Press:

'OWS, in contrast (to the Global Justice Movement mobilisations 1999 - 2001), is not a party, it's a community. And it's less about fun, or not so much primarily about fun, as it is about caring' (p.240).
 
‘On the streets, creativity is our greatest tactical advantage. This is why clowns and spiral dance rituals and women in tutus armed with feather dusters were so effective during the Global Justice Movement’ (p.255).