HERMANN FOX MANGANYI IS A SEASONED,MULTI-SKILLED, SELF TAUGHT INSTRUMENTALIST WHO USES HIS AUTHORSHIP AND VOCAL ABILITIES TO CRAFT TSONGA LYRICS FOR HIS SOOTHING MELODIC TUNES.HIS MUSIC IS ENTWINED WITH SOCIAL COMMENTARY AND IS OFTEN LACED WITH AN,UN TSONGA WORLD MUSIC WILL LIVE ON IN THE FOUR CONTINENTS OF THE WORLD FOR DECADES TO COME,WELCOME TO MY PAGE FEEL FREE TO READ AND LISTEN

About HERMANN FOX

From making his singing debut in church at the age of seven, in 1961, to his first recording at the age of nineteen in 1973, thirty-four years later HERMAN FOX’s life and music career features a picturesque landscape that could easily make good material for an epic documentary. Herman Fox is a seasoned, multi-skilled, self taught instrumentalist who uses his authorship and vocal abilities to craft Tsonga lyrics for his soothing melodic tunes. His music is entwined with social commentary and is often laced with an unassuming humour. With the ever changing music landscape and global trends, Herman Fox’s music can today, be categorically described as WORLD MUSIC as it does not necessarily fit the mainstream. It however offers something that everyone can relate to: be it the lyrical content; the melody or simply the rhythm that binds it all. At first glance, Herman’s quiet demeanour could be misconstrued as coyness, until you get closer to experience his humility and dynamic personality, whilst you enjoy his remarkable and simplistic approach to music, despite a career span that frills a legacy of over three decades. With roots that stem from a lineage of royalty in Ribolwa, a village in the Limpopo province, Herman was born in the township of Pimville, where his parents had settled and amidst the political tensions of the time. Herman’s love for music started in church. Every Sunday he would scamper along with the lady that was their landlord to a church in the neighbourhood, as he enjoyed singing in praise of the lord. It was there that he discovered his voice and where his potential was tapped. He however, developed his passion from the dusty street of the township. A group of vocal and guitar playing musicians made up of aMabaca were a common sight in the township, and as with all children at the time, Herman would follow them around in awe of their craft. And often this road would lead to ga-Mme Mamokoto, a shebeen where these musicians would entertain hostel dwellers. Unbeknown to them, they had a student lurking in their shadows. At the age of twelve, Herman made his first instrument: a four-string, paraffin-tin guitar that would not only set him on his path but that would also test his relationship with his father. His father was adamantly opposed to the idea of him, being of royalty to pursue a path that would not distinguish him from commoners. He believed that kings were supposed to be entertained and not the other way around. This was to be a challenge for Herman: convincing his father to believe in him and be supportive of his dreams. In those times, songs like ‘Iya guduz’indoda isele yodw’endilini…” filled the airwaves of Radio Bantu…and Herman had to upgrade his guitar to six strings to play along and mimic those sounds. At the age of fifteen, the family moved to Chiawelo. Here, he started making money from basking on the streets, train stations and anywhere, where there were people to hear him. Only his mother was