Exploring the evolution of South Africa’s music copyright laws reveals significant shifts in creative rights for artists, particularly during the transition from apartheid to democracy.
The development of music copyright throughout South Africa’s democratic transition in the 1990s demonstrated how musicians battled for recognition and rights in the face of institutionalised persecution.
The Separate Amenities Act of 1953 posed a significant obstacle for renowned saxophonist Winston “Mankunku” Ngozi during South Africa’s apartheid era. Because of legislation that forbade mixed-race concerts, Ngozi had to perform with white musicians behind a curtain, thus keeping the audience from seeing him. In a degrading incident, he was forced to perform behind the curtain at a 1964 Cape Town City Hall show with an all-white big band, while a white impostor claimed to be the saxophonist on stage.
In addition to restricting Ngozi’s ability to express himself artistically, this discriminatory regulation kept him from receiving the proper credit and payment for his contributions. Despite the commercial success of his famous 1968 record Yakhal’ Inkomo, which documented the challenges of Black artists under apartheid, Ngozi did not receive much financial gain because copyright protection was not in place. Ngozi’s experience illustrates the systemic abuses that Black artists experienced: their rights disregarded and their artistic work exploited.
According to an article in The Funambulist, apartheid-era musicians faced severe restrictions. The Separate Amenities Act, coupled with the Group Areas Act and pass laws of the early 1950s, imposed stringent mobility constraints. To move freely, musicians needed a ‘day pass’ or ‘night pass’ and had to adhere to a mandatory 10pm curfew, referenced in the African Jazz Pioneers’ song Ten Ten Special. These interconnected laws stifled artistic collaboration, social cohesion and overall freedom.
Before the country gained its independence, Black artists in South Africa worked in a closed-off environment with almost no copyright protection, leaving them open to exploitation and receiving only small compensation for their artistic efforts. This harsh environment not only suppressed artistic expression, but also failed to give musicians the recognition they deserved for their contributions.
Contemporary resonance
The legacy of apartheid-era struggle music continues to resonate with contemporary artists. One of these is Johannesburg-based musician Ofentse Sebula, who attests to this enduring impact. “The legacy of the struggle music from the apartheid era plays a significant role in my music, as I too share the same sentiments,” he says. “The sentiments I share with apartheid-era musicians include resilience, cultural pride and a commitment to authentic emotional expression. Growing up in democratic South Africa, my music reflects on our nation’s complex past, its ongoing impact and the hopes for a unified future.”
Sebula emphasises that music from that era transcended mere entertainment: “It was a voice of the people, reflecting the times they lived in,” he says. Sebula’s own music may not be overtly political, but he acknowledges the importance of storytelling through song. “My music isn’t always in line with political issues as before [in] the apartheid era, but the goal is to tell my stories and remind people that we’re still going through the same battles.”
Meet Ofentse Sebula, a composer, creator and visionary. Photo: Supplied
Music promoting social justice and resistance was particularly targeted by the apartheid administration’s severe censorship laws. Politically charged songs that dealt with issues of injustice and inequality caused artists like Hugh Masekela, Miriam Makeba and Brenda Fassie to be targeted, censored and sometimes overtly mistreated by the apartheid government. For instance, Makeba’s song Pata Pata was banned from radio stations due to its alleged anti-apartheid sentiments, which restricted her ability to perform for a larger audience in South Africa.
Similarly, Fassie’s song I’m a Good Woman tackled themes of empowerment and defiance in the face of oppression, marking her as a voice for marginalised people. Although the song was not overtly political in comparison to some protest songs, Fassie’s bold expressions of resilience were interpreted as a challenge to the status quo. Radio stations banned her song Black President, which was a tribute to Nelson Mandela, for its anti-apartheid connotations. The government kept a close eye on Fassie’s activities, making it difficult for her to express herself freely.Masekela also suffered greatly because of his musical advocacy. His popular anti-apartheid protest song, Bring Him Back Home (Nelson Mandela), demanded the release of Mandela, who had been detained by the government since 1962. The song, composed and recorded during Masekela’s exile, rose to fame and became an unofficial anthem of the anti-apartheid struggle. The upbeat tune, with its strong chords and trumpet riffs, masked a pointed political statement that directly challenged the South African apartheid government. The fact that musicians jeopardised their freedom and careers to speak out against injustice underscores the complex relationship between politics and music.
Lack of legal protection
Musicians frequently found themselves in a vulnerable position during the apartheid era due to the lack of strong legal protections for their artistic creations. At the time, the Copyright Act of 1978 offered creators limited rights and failed to address the specific challenges faced by South African artists, particularly Black musicians. Although the act was meant to protect intellectual property, it operated within a framework that largely ignored the systemic inequities of the apartheid system.
A glaring example was the ‘Lion Trial’, involving the globally famous song The Lion Sleeps Tonight, originally written by Solomon Linda. Despite the song’s enormous financial success, Linda received little recognition or compensation, exposing the exploitative practices that thrived under the apartheid-era copyright regime. The law’s focus on formal, written agreements and legal representation left many black musicians – who often had limited access to legal resources – vulnerable to exploitation by record companies and intermediaries.
In addition, the harsh restrictions placed on artistic expression by the apartheid administration meant musicians were forced to communicate their discontent using subtle themes, risking further marginalisation. In the end, Black artists were not protected by the 1978 Copyright Act, which was meant to update South Africa’s copyright regulations. Significantly, the Act denied many Black artists the right to their previously created works, because it did not offer retroactive protection for works created before 1978.
Unfair ownership arrangements favoured record companies and publishers owned by white people, leaving Black musicians open to exploitation due to a lack of effective enforcement measures and restricted access to the legal system. Neither did the Act address cultural appropriation, through which white artists make money from traditional Black music without acknowledgment or payment.
These flaws led to the exploitation of Black artists’ creations, a loss of royalties and creative control, and relatively little acknowledgement. The shortcomings of the 1978 Copyright Act necessitated the revolutionary shifts that came with the emergence of a democratic society, in which the defence of artists’ rights and reform of copyright were top priorities.
Protecting artists’ rights
The democratic era has introduced stronger legal frameworks that protect intellectual property, enable artists to defend their rights, and promote a more egalitarian music industry. These advancements show the vital role copyright plays in sustaining musicians’ livelihoods and fostering innovation in South Africa’s diverse musical landscape
Sebula acknowledges the significant progress made in protecting artists’ rights. “I haven’t stumbled upon challenges when it comes to full control of my music and its ownership,” he says, recognising that this is largely due to the advancements made since apartheid. “I believe this is because post-apartheid South African artists have experienced increased autonomy in the production and ownership of their music, also thanks to organisations such as Samro [South African Music Rights Organisation] and Mpasa [Music Publishers Association of South Africa],” he says. Sebula’s experience highlights the transformative impact of democracy on the music industry, with artists now enjoying greater creative control and financial benefits.
Ofentse Sebula, bringing jazz to life, one note at a time. Photo: Ezra Selulu/Supplied
Record companies and the government organisations that had previously controlled the intellectual property and copyrights of many songs were overthrown, giving Black South African musicians more freedom to create and own their music when apartheid ended. The Copyright Amendment Act of 2019, which attempted to improve the protection of authors’ rights and remedy some of the injustices ingrained under apartheid laws, is a prime example of this change. In contrast to the 1978 Copyright Act, the new regulations improve intellectual property protections and support equitable compensations for artists.
Tsenolo Ntsane, operations manager at Mpasa and a renowned songwriter, underscores the vital significance of copyright protection for musicians. “Copyright is essential for safeguarding artists’ rights and ensuring they receive fair compensation for their work,” she emphasises.
As a champion of music, Ntsane, also known as Nolo Harmony, has navigated both the performance and regulatory sides of the industry. Her passion for music began in high school, when she developed a love for song writing. Ntsane licensed her songs at a young age and pursued music contract law in her studies.
She stresses the transformative power of copyright knowledge for musicians. “Understanding copyrights is the very thing that can help a musician create a profitable career and that’s why it is so important,” she says. This insight stems from her unique blend of artistic experience and regulatory expertise. At Mpasa, Ntsane seeks to contribute to the value of artists’ work. Through partnerships with stakeholders, Mpasa aims to safeguard musicians’ rights and foster a fair, profitable environment.
Artists who do not copyright their work face potential revenue loss, lack of recognition and exploitation, she says. Without protection, musicians risk losing ownership and control over their creations and how their music is used and distributed.
One song, two rights
“When somebody creates a song, two rights are born,” Ntsane says. “The first is the master right, which refers to the actual sound recording of the song. This right is controlled by either the artist or the record label and generates income through mechanical royalties.
“The second right is the publisher’s right, pertaining to the composition itself – the lyrics and melody. This right represents the individual creative work underlying the sound recording, earning performance royalties whenever the song is performed publicly, played on the radio, or used in a live setting.”
Ntsane emphasised that this knowledge is particularly crucial in South Africa, where historical injustices have left a lasting impact on the music industry. “During apartheid, many Black artists were disenfranchised and lacked understanding and access to these rights, often losing control and revenue from their creative work,” she says.
To address this legacy, Mpasa prioritises empowering its members through education. “We recognise the historical disparities and strive to bridge the knowledge gap,” Ntsane says. “Through regular webinar sessions and workshops, our members gain a deeper understanding of music copyright, mastering the intricacies of master and publisher rights to safeguard their creative and financial interests.” By fostering awareness and expertise, Mpasa aims to ensure South African artists, particularly those from historically marginalised groups, can protect their intellectual property, secure fair compensation, and build sustainable careers in the music industry.
“South African musicians need to adjust to the changing landscape of the music industry as streaming services and digital platforms do, all the while fighting for just recompense and the defence of their rights,” Ntsane says. “While post-democracy laws have made a great deal of progress, there are still many challenges in the way of long-term success, which means that attempts to empower artists and increase their visibility in a more competitive market must continue.”
South Africa’s musical journey reflects its complex history and vibrant democracy. Visionary artists like Ngozi, Masekela and Fassie defied apartheid’s censorship and exploitation. Today, Samro and Mpasa champion artists’ rights, allowing musicians like Sebula the freedom of not experiencing challenges when copyrighting their music.
The Copyright Amendment Act of 2019 has improved protection for authors’ rights, addressing historical injustices. As the music industry continues to evolve, Ntsane says Mpasa “will continue to prioritise education and empowerment, ensuring artists can protect their intellectual property and secure fair compensation.”
FEATURED IMAGE: Lost in the melody. Photo by: Katlego Mtshali
Many traditions and cultures have subconsciously aided the wellbeing of one’s mind through music and sound.
A neurologist and music psychotherapist tackled the maze of the mind together on Saturday, May 18, 2024, at the Wits Origins Centre through a mental wellness and brain health seminar on International Museum Day.
Human brains have a potential that is unfathomable, and whilst people think we only use 10% of our brains at a time, they are mistaken.
Most of our brain is being used most of the time, even while sleeping, and over 85 billion neurons in our brains are always firing some sort of signal.
However, with all this brain power comes the largest emotional intelligence amongst all mammals. This EQ of humans is the area studied by neurologist and brain health specialist, Dr Kirti Ranchod, and music psychotherapist, Nsamu Moonga.
Music psychotherapist, Nsamu Moonga, leading the audience through a series of musical workshops to release their inner voice and learn to trust in a collective conscious. Photo: Victoria HillDr Kirti Ranchod during her seminar at the Origins Centre, speaking about all things brain health and wellness. Photo: Victoria Hill
Music is all around us — at birthdays, funerals, weddings, political rallies — and each scene sounds very different from the next, which is a subconscious understanding, Dr Ranchod explained.
Dr Ranchod said music is linked to both memory and emotion. When a person hears a specific song, they relive a specific experience, which leads to them feeling a specific emotion.
This is the basis from which Moonga bases his therapy techniques. He explained how humans forget things as a survival technique yet create rituals to ensure they do not forget what is important — the earth rotating completely around the sun, a human life ending, a life of two people beginning for instance.
Yet, Dr Ranchod said how music is exceptionally personal where one type of tune will relax someone whilst it will trigger another. .
To pay homage to International Museum Day, Dr Ranchod spoke about the San Trance Dance which is one of the earliest rituals known to date that used music to bind a group together.
The Trance Dance is a permanent feature at the Origins Centre — which traces human life back nearly two million years — because it sees the beginning of humans living in communities and activating their energies to connect with the spirit world.
With sound, rhythm, movement, and dance used to alter reality, shift consciousness, and change perception, this was the start of music therapy in practice.
Museums document the history we all share and allows for the interception of the past, present, and future. They allow us to understand who we are, where we come from and are the physical pallbearers of memory.
FEATURED IMAGE: Modern-day rock art as appearing in the Origins Centre to showcase how the past is still very much in the present. Photo: Victoria Hill
The local punk, rock, and metal scenes are bursting with talent, and international artists are beginning to take notice.
The suburb of Melville in Johannesburg is always buzzing and lively on weekends, drawing crowds from all corners of the city. On Friday, May 17, 2024, Melville was overtaken by punks and metalheads in crust pants and spikes, all coming to see the coolest show of the weekend, headlined by Matrak Attakk.
Matrak Attakk is a self-described ‘anarcha-feminist crust band’ (translation: really cool), hailing from Europe, but they fit right in at Smoking Kills, a beloved dive bar that sits at the heart of the local underground music scene. For as long as the bar has been open, it has been hosting up-and-coming bands of the hardcore sort, giving them a space to be creative and an enthusiastic audience to perform for.
Matrak Attakk were joined on the lineup by some of the best bands the scene has to offer currently. Lefokolodi was one of these acts, and for good reason; they are a spectacular quartet and seeing them perform is a fully physical experience. Lefokolodi brings a crowd of strangers together instantly, screaming and moshing with such vibrant energy that the room overflows with it. Their lead vocalist, Lerato, oozes showmanship and flair with his breakdancing and crowd surfing; seeing them perform their latest single, “Disillusioned,” was a highlight of the night.
The crowd watching Lefokolodi.
Lerato performing for the audience.
The crowd at Smoking Kills on May 17, 2024.
If you’re not a fan of politics, then punk isn’t the genre for you, but on the day, likeminded individuals got to share their thoughts in a space that actively champions community and solidarity. Bands like Mean Girls embody this; they have given the profits from merch sales to solidarity organisations, played shows celebrating youth day in South Africa, and written songs about anti-imperialism and feminism. Their popularity in the scene shows how much their message resonates with young people, but also stems from their musical finesse and talent.
Matrak Attakk took to the stage just past midnight and were easily the loudest band of the night. Their lead vocalist, Cristina, has a ferocious and intimidating scream, but her speaking voice between songs was soft and kind. She profusely thanked the audience for being so receptive, and said the South African scene has a lot to teach the European punk community. Being able to tackle subjects like racism, imperialism and colonization is all part of this specific music scene, and South African punks do it phenomenally, she said.
Matrak Attakk headed up to Pretoria on Saturday evening to perform and came back down to Soweto for a show on Sunday. On the weekend of May 24 and 25, 2024, they will be performing in Cape Town and Stellenbosch. This tour shows just how widespread the love for punk is here, and just how eager international acts are to explore every corner of our burgeoning little scene. Though the underground scene is far from being a profitable giant like other South African music genres, it is fierce, raw, and real.
FEATURED IMAGE: Lead vocalist of Matrak Attakk, Cristina, performs at Smoking Kills. Photo: Ruby Delahunt
In the ever-evolving music streaming landscape, how can listeners balance costs and morals when deciding on how to listen to their favourite artists?
Choosing a platform to listen to music in 2024 has been made difficult; not only by the abundance of options at audiences’ fingertips, but by also lingering concerns regarding fair compensation for artists’ work.
The growth of music streaming in the past decade has empowered artists to reach much larger audiences however, they have been short-changed when it comes to earning streaming royalties.
An example of a student study set-up, while music is being streamed in the background. Photo: Tristan Monzeglio
A common misconception about the royalties afforded to artists is that they are solely dependent on the number of streams a particular song generates. However, the royalties paid out to artists are determined by their streaming performance relative to the overall streaming revenue generated by a platform. This means that as platforms make more revenue, there is a “bigger royalties pie to share” for artists, but their individual success is not necessarily the main determining factor for the revenue they ultimately receive.
Royalty rates also change based on different countries’ “own set of payout rates”. This is due to the difference in subscription prices offered in countries across the world. For example, in America, a Spotify Student subscription costs $5.99 (R112.28) per month, while in South Africa the same student subscription costs R34.99 per month.
Many streaming platforms offer various tiers with differing price points, respectively. However, this means if you listen to the same song on a Spotify Student plan, by virtue of its lower subscription price, an artist will make less money from your stream than from a Spotify Premium subscriber.
This can pose a dilemma, especially for university students who want to best support the artists they care about, but may not be able or willing to pay a higher price for essentially the same product.
According to VIRPP, as of 2023, Tidal offers the highest average royalty rate for artists at R0.24 (as of May 3, 2024, 1 USD equals 18.54 ZAR) per stream, followed by Apple Music at R0.15 per stream. On the other hand, Spotify at R0.059 and YouTube Music at R0.037 per stream, a fraction of what Apple Music offers.
Streaming Platform
Average Payout per Stream
Tidal
$0.01284 (R0.24)
Apple Music
$0.008 (R0.15)
Amazon Music
$0.00402 (R0.074)
Spotify
$0.00318 (R0.059)
YouTube Music
$0.002 (R0.037)
Pandora
$0.00133 (R0.025)
Deezer
$0.0011 (R0.020)
Figure 1: A table comparing how much major streaming platforms pay artists per listen, adapted from VIRPP to include rand values.
Average royalty rates calculations such as these are generally accepted as accurate, but they are merely estimates and not wholly accurate representations for every platform or artist. In addition, as these companies are driven by profits, there is a tendency to promote artists that are already successful, while disincentivising those trying to make a name for themselves.
One could also argue that larger platforms compensate artists for their relatively low royalty rate by offering a larger user-base and untapped audience. However, much of their discoverability, is tied to curated playlists, based on a collected user data and algorithms. This still promotes selected artists and makes it more difficult for new artists to develop organically.
Some artists choose to circumvent larger streaming services altogether. For example, Cindy Lee’s Diamond Jubilee – a critically acclaimed psychedelic pop album released this year – is only available for free on the band’s official website and can only be streamed on YouTube.
Figure 2: Cindy Lee’s Diamond Jubilee album cover.
However, the band is requesting $30 CAD (R405,71) donations for those wishing to show their support.
As a Spotify user, I feel conflicted. My personal experience using the app has been mostly positive, and I have created various playlists and discovered thousands of songs and artists I love. However, every time I open the app, part of me can’t let go of the fact that I am contributing more to the bottom-line of a large company than to the artists I listen to.
I feel it is only fair as a music consumer to pay artists what they deserve for delivering us their musical products, which – in many cases – can transcend their form as mere pieces of art into impactful feelings and memories that help us narrate our lives.
That is why I feel it is important to learn about the streaming platforms so we can make informed choices that align with our differing views and values.
For individuals wishing to support artists they care about most effectively, more direct avenues for purchasing might be preferable. For example, on platforms like Bandcamp that allow artists to self-publish and set their own prices may be the most ethical way to support artists. For buying digital copies of music, audiences also have the option to use iTunes for a more diverse catalogue.
Audience members were lost in translation from time to time but the appreciation for art trumped any temporary confusion.
A rallying call to hold onto what you can be proud of, and a celebration of South African indigenous languages were central at the inaugural poetry concert – Uphethen’ Esandleni?
The Wits SRC in collaboration with 2019/2020 former SRC member Samantha Mungwe hosted the concert at the Chris Seabrooke Music Hall at Wits University on the evening of Thursday, May 18.
Samantha Mungwe is a two-time Wits Alumni, poet and actress. The concert was inspired by the reaction she received from a recital she posted on YouTube in 2021. Uphethen’ Esandleni? – meaning ‘what do you have in your hand?’ – was the question she was asked in her poem, as she held up a degree scroll in her hand.
A duo of energetic MCs in SRC Legal Officer, Lesego Makinita and Wits student Simon waBatho kept the mood in the room jovial. The first round of individual performances saw rapper Cashflow (stage name) and the singer Mercy illicit much head bobbing and foot tapping from the audience.
Members of uThingo Lwamakhosazana aseWits doing their isiZulu reed dance onstage at the Chris Seabrooke Music Hall at Wits University on the evening of Thursday, May 18, 2023. Photo: Otsile Swaratlhe
Cultural clubs and societies took centre stage after those performances. Khomanani Vatsonga Student Society kicked things off with their traditional Xibelani dance, then followed by uThingo Lwamakhosazana aseWits with their isiZulu reed dance before the Wits Zulu Society closed the group performances with a combination of isiZulu reed dances.
The group rounded off their performance with a rendition of Gqom producer, Dladla Mshunqisi’s hit Upheten’ Esandleni. This was met with much screaming and clapping from the visibly impressed crowd.
The latter part of the programme ushered in the poets, the main act of the night. They walked onto stage in an orderly fashion and sat next to one another. After each recitation, poets ended off with the line “upheten’ esandleni?’ before passing the microphone to the next poet, a symbolic passing of the baton.
Attendee, Njabulo Nxumalo (21) said that she found the concert spectacular. “I think the diversity of it all: the different cultures, the different [use of] language and the mixture of poetry with music [lyrics]…I have to give it a ten out of ten,” Nxumalo said.
Poet of the night and AFDA student, Tiisetso Maeane (21) told Wits Vuvuzela, “[In poetry] the main thing is to be relatable,” and apart from doing the poem in Sesotho, he achieved this by making his poem about abortion. He titled the poem, Pray after death and according to Maeane, “This poem is a resurrection of a baby that was aborted. I am the voice of the baby that was aborted.” This is where he called on to the youth to practise safe sex.
Event organiser and main act, Samantha Mungwe (24) said that she just wanted to create something that would inspire other people and create a platform like this at Wits. “[My aims for this concert were] for students to be inspired, for concerts like these to continue happening and for people to love art.”
FEATURED IMAGE: Members of the Wits Zulu Society dance on stage during their performance. Photo: Otsile Swaratlhe
Jazz musician dazzles music lovers with an acoustic concert
Multifaceted South African musician, Gabi Motuba debuted her new project, The Sabbath in a concert held at Wits Chris Seabrooke music hall on Saturday, May 6.
Motuba is a Johannesburg-based vocalist, composer and music facilitator whose music is centred around world politics, black studies, religion and genre studies. She released her first album, Sanctum Sanctorium in 2016 and Tefiti Goddess of Creation in 2019.
In the project, released on June 28, 2022, Motuba shifted her focus to talk about her experience with grief; as her father lost his battle against Covid-19, during the pandemic. As a result, the project consists of five lamentation songs that would leave any listener in a state of melancholy. Motuba told Wits Vuvuzela that: “The project is largely a very reflective work for me in terms of moving from trauma into grief and into the pursuit of restoration”.
Wits music alumni, Tembinkosi Mavimbela, who played double bass during the performance said that in The Sabbath, Motuba showed immense vulnerability. He described her performance as a form of supplication to a higher power. “Her performance was a prayer indeed; it takes courage to be vulnerable on stage and we shouldn’t look at a Sabbath in one direction because we approach prayer in different ways.”
Thembinkosi Mavimbela interacting with friends and fans after the concert. Photo: Sfundo Parakozov
What added to her performance was the concert took place at the state-of-the-art music hall . The venue is the only space in the city that is exclusively designed to optimize live musical sound with modern acoustic design. This added to Motuba’s exceptional vocal range.
Wits art student, Rethabile Zilila said that she was surprised at how audible everything was but appreciated the spacious nature of the hall.
Motuba explained that as a composure, mostly working with string instruments, she chose the venue because she knew the acoustics of the room will produce a beautiful sound.
The attendees’ sight senses were also activated. While Motuba was performing, there was a background theme inspired by nature on display.
Wits Fine Arts lecturer, Zen Marie, who was in charge of the displays said he sets up the landscape in response to the music.
This was evident as he displayed dark clouds as she was performing a track titled, Nabu Lobosuku , which means here’s the night. This exuded a dimmer and sombre atmosphere with the mood in the room quietening down as everybody was enthralled by her voice.
The final part of the performance had a much lighter and brighter landscape, consisting of clear skies, which was an important moment showing the transition from grief to freedom. One could clearly feel the biblical reference as she sang the last track on the album, Amen, meaning the end.
The hour-long concert was attended by the likes of Thandiswa Mazwai and former head of the Wits School of Arts Professor Brett Pyper.
Rethabile Zilila and Thandiswa Mazwai posing for a picture. Photo: Sfundo Parakozov
FEATURED IMAGE:Gabi Motuba thanking her audiences after her performance. Photo: Sfundo Parakozov
Duo captivates passers-by with energetic performance, bringing excitement and joy to the community.
A small crowd did not deter two musicians from giving a stellar performance on Bertha Street, Braamfontein on Tuesday, May 2, 2023.
Their soulful performance left the small audience in awe, and passers-by were so captivated they would stop for a moment to listen to singer and guitarist, Zimbabwe-born Vusumuzi Mkandla, and guitarist Nkanyezi Mazibuko who hails from KwaZulu-Natal.
The duo performed songs by well-known South African musicians including the likes of Zahara, Nathi Mankayi and the late Robbie Malinga. Mkandla’s countryman, the late Oliver Mtukudzi, also featured in their list of songs, as did Tracy Chapman, Lady Gaga and Justin Bieber.
Vusumuzi Mkandla performs the track Bekezela by the artist Bekezela: Photo: Ayanda Mgwenya
They told Wits Vuvuzela that this was their first time busking in Braamfontein and they appreciated the warm reception and monetary contributions as a token of appreciation, encouragement and support.
“I am still quite new in the industry,” said Mkandla. “I started playing the guitar in 2019/20 and started singing in 2022.”
The two met on social media platform TikTok in January and decided to collaborate. In March they established their music production company, Mbuso Production, with the hope that one day they would build a musical empire that would connect people, especially in Africa, through music.
“We usually perform at the streets in Maboneng, and we’ve just begun doing gigs at a local restaurant in Maboneng called Bertrand Café,” Mazibuko said.
A woman who was in the small crowd said that this was a welcome experience for her because school had drained her. “I enjoyed the performance,” she said.
Mazibuko and Mkandla ended with a performance of their very first original song titled Inyok’encane. They plan to release their first joint extended play (EP) in July followed by Mkandla’s second album in September.
FEATURED IMAGE: Vusumuzi Mkandla and Nkanyezi Mazibuko perform in front of a small crowd in Braamfontein. Photo: Ayanda Mgwenya
The British Council alongside Business and Arts South Africa host a queer edition of karaoke night at Wits’ Tshimologong Digital Innovation Precinct.
On Friday March 24, 2023, people took to the stage for their fifteen minutes of fame, at the queer edition of Fak’uoke (wordplay on Fak’ugesi and karaoke) in Braamfontein.
Fak’ouke is part of the Fak’ugesi Festival, which showcases and celebrates African digital creativity annually. Festival planner, communications intern and MC, Nontokozo Qhobosheane said, “With the help of our partners, Business and Arts South Africa and the British Council we were able to make all our attendees feel like stars.”
This queer edition of Faku’ouke was inspired by Five Films for Freedom, a nine day film festival with queer rights as the theme.
Rowann Hermans, karaoke night attendee and ‘best power ballad prize winner said, “Bear in mind that I didn’t know it was a competition until they said that they were going to start voting.”
Hermans walked away with a pair of Ray-Ban sunglasses and six bottles of wine for their rendition of Estelle’s ‘American Boy’.
“I really just enjoy performing so my expectations were to make a show and engage with the audience, I was more there to perform a song than to win,” they added.
Lathitha Gqokama who was in the crowd and attending a queer event for the first time said that “it was a safe space for any kind of self-expression, and I particularly enjoyed experiencing the diversity among the people who were there”.
The Faku’gesi festival plans to host another Faku’ouke queer edition during pride month from June 1 to June 30, 2023.
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FEATURED IMAGE: Attendees second self is Fantasia onstage. Photo: Mbalenhle Dlamini
South Africa has invested over R60 billion in its transport infrastructure over the last 30 years! While you can certainly see some of that investment, major modes of transport are just not keeping up with how urbanised Johannesburg and its surrounding areas are becoming. Here on The Next Stop, I am joined by Olga Mashilo […]
