ABSTRACT The aim of this paper is to explore the purity of the isiZulu language in current isiZulu popular music. South Africa has a Language Policy, which declares that all languages are equal and advocates the elevation and use of indigenous languages in all spheres of society. This has seen an increased use of South African indigenous languages such as isiZulu in different genres in the music industry. The language in music is used either monolingually and creatively or multilingually, mixed with other languages – a phenomenon that has met with various reactions from Language Practitioners and language speakers, as well as users alike. Some stakeholders are of the opinion that the language used in popular music is not the purest form of isiZulu and hence, harbour a fear that the current music has a potential to destroy the language. Other proponents, on the other hand, advocate that the creative nature of music is a critical building block in expanding the language and reaching the masses. In exploring the notion of language purity, two genres of music, Maskandi and hip-hop, are analysed. Language purity in these genres is assessed and a stance taken on their destructive or constructive potential. This paper will, ultimately have significance for language planners and stakeholders in the music industry.
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