There is no sound in choral music that can compare to the thrilling polyphony of men’s voices in a Cape Malay choir singing a traditional Nederlandse melody.The voice of the soloist flutters and floats in Eastern quarter-tones above the chorus, which belts out robust Western chord progressions.The two tonal patterns are joined — at times harmoniously, at times in delightful discord — and yet each retains its distinctive style. In that sense, the music of the Malay choirs is not only unique, but an apt metaphor for multiculturalism in the new South Africa. In February and March the Cape Malay Choir Board has been holding its annual competition at the Good Hope Centre. The choirs come from all across Cape Town — from Bo-Kaap to the Cape Flats — and are enthusiastically supported by their local communities. The music itself draws on an astonishingly eclectic set of influences. Not only are there hints of religious Islamic chants and European choral harmonies, but bits of 19th-century vaudeville and modern-day pop music. One favourite moppie or comic song is even devoted to the toyi-toyi.The names of some of the groups pay homage to the carnival atmosphere of the Mardi Gras — ”New Orleans”, ”Rio Oranjes”, ”Hanover Super Stars”. Indeed, the Malay choirs share some of the same influences (and the same members) as the Klopse minstrel troupes that parade in Cape Town’s streets throughout January. But the Malay choirs are far more sedate. Theirs is a music of celebration, but not of revelry. Though the songs tell wistfully of love, the choirs are steeped in the symbolism and dignity of the Islamic faith. Indeed, what makes the music so fascinating is this very combination of sensuality and religious piety. The competition is friendly but fierce, fuelled by the shiny promise of the trophies that are prominently displayed in a corner of the stage. In addition to performing one of the Nederlandse songs, which are often sung at local Muslim weddings, the choirs must each perform a moppie, junior and senior solos, and a folk song combining all voices.The choirs are also judged on dress, and each chooses distinctive colours for its suit-and-fez uniform.The accompanists only use string instruments — mandolin, violin, banjo, guitar, cello, harp and double bass — except for the goema drum, which is only played for the moppie.Applause is generous for all the groups — though each has its own highly partisan cheering section—and a festive atmosphere pervades the mostly Muslim audience. Sadly, however, the Malay choirs and their competition continue to receive almost no media coverage whatsoever. This national musical treasure remains undiscovered by many Capetonians and most South Africans.