Sizophuma Elokishini by Simphiwe Dana

July 12, 2025

Sizophuma Elokishini by Simphiwe Dana

Introduction

When advocating for change and justice we must be careful of the dangers of a single narrative about the township. As Edward Said teaches; how knowledge is produced shapes ideas of how certain groups and places are percieved in society. It’s necessary to represent the township with complexity and nuance. Artists and social organizers must find the balance between the erasure that often comes with the intellectualization of life in the township and the romanticization of injustice and learned ways of survival because of living in the township.

Sizophuma elokishini is a good example of this balance. The song holds up a mirror to the reality of inequality in post-apartheid South Africa. The reality being that for many township citizens, quality education, employment opportunities, healthcare, and safety are still out of reach. This exclusion and exposure to inhumane conditions ensures that for these citizens, poverty is reproduced generationally. At the same time, the song is a sonic experience. The choral effect or style in the chorus is not only nice to the ear but also creates a feeling of communal presence. The deliberate use of the piano, the horn, the drums and the rhythmic build-up. It’s a journey of emotion. Joy and grief, anger and hope, tiredness and resilience and finally left with a feeling of solidarity and hope. There is a reason Ms Dana is considered a critical figure in Afro-Jazz and soul.

As an emerging storyteller, I see a gap in telling multi-layered stories. For black artists especially, there is always the danger of being locked into narratives of pain. We long for stories that let us just be — to create beauty and fun. And/however as Ms Nina Simone says “you just can’t help it, an artists role is to reflect the times”.We can all think about what it means to reflect the times and making space of complexity

“Your time is limited, so don’t waste it living someone else’s life. Don’t be trapped by dogma – which is living with the results of other people’s thinking.” – Steve Jobs

Verse 1:

“Sakhula sihlupheka ,Sashiy’indlala Siphethe iinyembezi ezeminyaka”

The last line translates to “carrying years of tears “. This speaks to the collective and generational trauma that stems from how the township was created. That is: the displacement of the black population from their land , their source of livelihood and dignity. Notice Ms Dana uses “ si” instead of “ndi”. Not “ndiphethe” (I carry), but “siphethe” (we carry).

Themes: Holding space /Mourning /Memory. The piano is soft , patient and mournful. L

Chorus :

“ Sizophuma Elokishini, sizohamba kulendawo. Elixesha selide ”

This is a declaration “we will leave the township”.

Hopeful and nostalgic, the horn comes in here and the tempo shifts. Almost reminds you of Sophia Town music which was a significant part of South African black culture and resistance under the apartheid government. Umgababa by Pat Matshikiza and Kippie Moketsi comes to mind.This melody feels deliberate, we are reminded that the ability to produce internationally acclaimed art within these harsh realities is both pure finesse and a defiant of expression of joy, of our humanity.

The last verse,

“Ungakhali sula ezonyembezi ,Sekusele ixeshana nje idlule lendebe”

The listener is directly addressed. First comforted that all things change and then seen in “Ungakhali sula ezonyembezi”, this phrase is commonly used to encourage one to stand in their power despite of what has transpired. It’s a way of saying I see your pain and I am certain you will be okay.

Conclusion:

Sizophuma Elokishini is not one-dimensional song about leaving the township— it’s about what it means to live, feel, and dream within it. Ms Dana does not offer us a one-dimensional narrative of township, nor does she escape into blind optimism. She gives us something else I argue is more impactful: a layered truth. Through her voice, her arrangement, her lyrics she tells the story of the wound and the will to survive it. I can only hope to have this kind of patience and responsibility in my own storytelling.

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