The change in venues allowed for variation in the basic theme of the competitions. A competition for the best dressed man was implemented and on occasion for the best dressed woman. Furthermore, all who registered to compete now paid a voluntary amount to the event conveners and the contribution of each group would be announced as they entered the hall. Shabalala recognized the significance of his position on a global scale and would honor the community by conducting workshops for aspiring isicathamiya groups. Ladysmith Black Mambazo addressed pressing issues in South African in the 1990s such as HIV/AIDS, crime, violence and rape. The group would honor prominent members of South African society such as Nelson Mandela and Archbishop Desmond Tutu. The level of interaction the group uses with the audience has grown vastly. Shabalala communicated with the audience beyond the musical and dance aspects. There was a shift in language usage, no longer restricted to Zulu, Shabalala would recite the words to "Homeless" to teach the audience. Shabalala continued to extend the boundaries of isicathamiya formalities by introducing Zulu "maskanda" (traditional musicians playing on European instruments, guitar and concertina) to open the Shabalala and his group. The core of isicathamiya were the all-night choir competitions that took place during the weekends in Johannesburg and Durban. Competitions were held all night long due to the number of choirs that would sign up at the start of the evening. Each choir had a group leader who was responsible for signing up the group and paying an entrance fee which would contribute to the monetary prize at the end of the evening. The isicathamiya groups dressed in suits, with white gloves, sparkling white shirts, shiny black shoes and red socks. The leader dressed in opposing colours from the group. Before the group enters the stage, there would be a moment of pre-performance prayer with the group gathered in a circle praying for spiritual guidance. This circle formation is reminiscent of the cattle enclosure of a Zulu village, a sacred space where the men could feel the presence of their ancestors and pray to them. The isicathamiya groups enter the stage for the competition and start with the group standing in a semicircle with the leader in front of the group. The group faces the judges and audience. Usually the first song is sung with the group standing still under the instruction of the leader in a "makwaya" (choral) setting. In the second half the group would incorporate leg dances or "i-steps" with their bodies synchronized to the rhythm of the song.