pqvgu · 2020. 6. 16. · south africa’s top artists were able to collaborate with african and...

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SAMRO- LICENSED VENUES, MUSIC VENUES OF NOTE

MOSHITO

www.samro.org.za

TRIBUTE EDITION

THREE SISTAS WHO ARE DOIN’ IT FOR THEMSELVES

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Nick Motsatse

Samro Editorial TeamSAMRO Notes- Spring Issue

Editorial Team Vanessa PerumalProject Management Rami Nhlapo Writer Romy TitusWriter Nadia NeophytouWriter Zama NyuswaWriter Christina KennedySubs/Writer Yavi Madurai Editor Contributors Roshni Moonsammy Music promoter’s perspective for international breakthrough NomaHlubi Simamane Hair and Make-up- Lesley Whitby using MacFashion Stylist’s- Kim Berell and Zanalee Van der WesterhuizenClothing- Purple Dress from Jo Borkett Teal Dress from Kluk CGDT Green Dress from Kluk CGDT

notes9EDITION

CONTENTS1. SAMRO & VENUESSAMRO- LICENSED VENUES, MUSIC

VENUES OF NOTE

3.CULTURE

5.MAIN FEATURE STORY TO BE SEND

6.MUSIC INDUSTRY ROUND UP THE SECRET TO SUREFIRE SUCCESS

7.IP FEATURE THE TRADITIONAL KNOWLEDGE BILL Legal APPLYING TO PROTECT MEMBERS RIGHTS

8.SAMROLLegacy Feature – Siva Devar

9.NEWS Feature- MAKE MUSIC YOUR BUSINESS AT MOSHITOBOOSTING TOMORROWS MUSICIANS TODAY

10.SENA CATCHING UP WITH PAST WINNERS

9

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SAMROAND VENUES >>

GET SAVVY WITH YOUR PLAYLISTSSeize the opportunity to extract maximum value from your creative work by making sure your SAMRO status works for you

World Cup fever has come to a rather abrupt end – and, while it would be perfectly acceptable to think that live music venues were among the businesses that scored big-time during the event, that is not necessarily the case.

Many such businesses experienced a lull during this time because the patrons who would normally frequent these joints were, in fact, getting festive at the official and unofficial fan parks and sports bars.

Grant van Zyl, the owner of SAMRO-licensed live music venue Tanz Café in Fourways, Johannesburg, says, “The World Cup was not great for our business as Tanz Café is known for its live music, and not for showing sporting events. We are personally glad it’s over! We have noticed a huge increase in turnover since it has finished.”

The positive spinoff is that some live music venues have enjoyed even more business now that soccer fever has worn off – it’s as if people are all soccered out, so to speak, and are seeking out live entertainment, and especially music. Live music venues are now using this opportunity to gear up their marketing drives and special promotions.So, with this in mind, now is the time for musicians to jump on the bandwagon. In fact, there are numerous ways in which revenue streams can be built and maintained through royalties, and using SAMRO-licensed venues is one. By simply understanding how SAMRO can work for you and keeping your focus on business, you can reap the benefits.

On an international level, musicians and composers have benefited from royalties as consistent revenue streams, through their organisations (such as the Performing Right Society in the UK), because they are aware of their membership benefits, as much

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as they are about protecting their music from being used illegally.Their music is licensed; therefore, they must receive royalties no matter where their song is used. It’s a symbiotic relationship.

SAMRO Regional Sales Manager Alan Gustafson states emphatically, “The venue needs to be licensed to play background or live music on its premises.”

He adds that “by being a member of SAMRO and playing at these venues, the musician is then ensuring that there is no infringement of his rights or anybody else’s rights by only ever using venues that are legally licensed to host him/her or play his/her music. They are also guaranteed royalties from the performance, but this is ONLY when the member submits the playlist of songs performed at the event.”

Says Gustafson: “When a SAMRO member performs, at any venue, they need to submit the playlist of songs performed and the venue’s name so that we at SAMRO can check up on these venues. This means that royalties can be paid out based on the information that was provided to SAMRO.”

The cost of being exploited far outweighs the time spent on administrative issues. Ultimately, the musician or composer should create a working relationship with SAMRO and also be organised about his/her music by monitoring where is it being played and who’s playing

SAMRO’S TIPS FOR MONITORING YOUR MUSIC’S USAGE NO

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Remember that even though a SAMRO-licensed venue may say it is registered with SAMRO, that doesn’t necessarily mean it has kept up with paying its monthly fees. So, it is important to always check with SAMRO whether the venue is legit or not.

Make sure that the playlist you submit to SAMRO is detailed. In other words, give the full title of the song and exactly where the songs are being used.

If you are unsure of the deal you are negotiating with the person who will be using your music, don’t hesitate to contact SAMRO. Let someone from the organisation advise you on legalities.

If your music is, for example, being played as a backing track on a visual presentation, or on someone’s website, without your permission, let SAMRO know so that the organisation can deal with it in an appropriate manner.

Some platforms where your music can be

used and where you can collect royalties are:

Covers – where other musicians perform your

song/music;

Compilation CDs – where your song is used on

a mixed CD that is being made for commercial

use; Digital media – where your music is being

used on the internet and in visual presentations;

Soundtracks – where your song/music is being

used in a film or television series;

Adverts – where your music is being used in an

advertisement;

Background music – where your songs

are being used as background music in an

entertainment venue;

Live performance – where you are performing

your own music in a venue; and

Stage – where your music is being performed

in a theatrical production, whether it be live or

a recording.

ITANZ CAFÉ THE BUZZ SHOPPING CENTRE, WITKOPPEN ROAD, FOURWAYS (011 658-0277 / WWW.TANZCAFE.CO.ZA)

This large, multi-functional, award-winning venue has, since its inception some five years ago, offered a funked-up, retro space where Jozi’s music lovers can unite in style, while appreciating some of South Africa’s hottest acts, such as Prime Circle, The Parlotones, Louise Carver and Watershed.

It’s not only about the big names but the up-and-coming artists, too, since Tanz is well known for inviting new and promising acts to perform on the venue’s large and impressive stage – the sound and lighting system is all-out state-of-the-art.

The spacious restaurant offers a variety of options, including a decent a la carte menu and full buffet, plus snacks, which go perfectly with a cocktail ordered from the cocktail bar. There’s only one way to be at Tanz and that’s zoned into rocking-hot South African tunes.

TINGS ’N TIMES1065 ARCADIA STREET, HATFIELD, PRETORIA

(012 430-3176/7 / WWW.TINGS.CO.ZA)

Anything goes at this eclectically bohemian-styled joint, where Pretoria’s students hang out and where you can expect diverse sounds, ranging from laid-back reggae rhythms to alternative rock.

New and original acts play here, so this is where the little-known gems of the local music industry are often discovered. Occasionally, South Africa’s heavyweight musicians rock the joint, too.

Hippie-reggae can best describe the décor, creating a great entertainment venue with serious music sensibilities and a menu offering excellent yet affordable food, too boot.

Live performances take place at least three times a week and when the bands are not playing, the DJs are, and then you get to groove to reggae and dub.

Whether it’s a laid-back lunch or a party-hard evening vibe, Tings ’n Times’ “anything goes” attitude allows pretty much everything to go down, just as long as it’s original and musically-inspired.

MERCURY LIVE 43 DE VILLIERS STREET, ZONNEBLOEM, CAPE

TOWN (021 465-2106 / WWW.MERCURYL.CO.ZA)

There’s something for everyone at the massive, top-class live music venue Mercury Live and Lounge, which is situated in the historic area of District Six, also known as Zonnebloem.

Incorporating two venues in one, playing genres of music across the board and including some of the best South African tunes around, Mercury Live embraces eclectic musical styles, from rock, pop and hip-hop to jazz, world music and electronica.

In fact, the venue calls itself a training ground for all sorts of music and here you get exactly that, from some of the best up-and-coming bands to the country’s most talented big names.

Cape Town’s students pack out the place on Manic Mondays, when drinks are cheap and cool indie, rock and pop bands heat up the joint. On Friday nights Mercury is renowned for its DJs, who play tunes ranging from the ’50s to what’s hot now.

Mercury Live brags that it’s one of the best live music venues in the country and, after a rocking night here, you will most likely agree.

MUSIC VENUES OF NOTE

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“SAMRO cannot protect the musician’s creation from abuse and being used illegally if the musician is not a member of SAMRO. By becoming a member, the musician authorises SAMRO to protect and license the use of his or her works. The musician will, in turn, receive royalties from SAMRO for the amount of times the works were used,” Gustafson reiterates

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SA MUSIC HITS THE BACK OF

THE NET DURING WORLD CUP

CULTURE>>

The 2010 FIFA World Cup brought with it opportunities and challenges alike for many South

Africans – not least local musicians. Some of South Africa’s top artists were able to collaborate

with African and international artists, creating a number of hit songs in the process.

The biggest and most publicised track was perhaps the official World Cup song by Colombian pop star Shakira, featuring Freshlyground, called Waka Waka, which sampled a Cameroonian military song. But the track wasn’t without its share of controversy. From the moment it was announced as the official song, there were critics who accused it of not being African enough, or specifically South African enough, for that matter. There were also those who said that Freshlyground should have featured more prominently in the song – and the video. Three of the group’s members – Zolani Mahola, Kyla-Rose Smith and Julio Sigauque – flew to Los Angeles to shoot the video, which was also in 3D, a first for all involved.

Despite the criticism, Waka Waka seemed to grow on people, and by the end of the World Cup, music-lovers all over the world were singing along to its catchy chorus. Months after the tournament has ended, the song remains on high rotation on MTV. The contribution Freshlyground made could possibly have been bigger, but it doesn’t seem to have mattered. Despite the ongoing controversy, their music is being talked about around the world, with the song having been played from Mitchell’s Plain to Madrid.

Another of the official tracks of the World Cup was one sung by R Kelly, which didn’t seem to do as well in the popularity stakes. However, it managed to up the profile of another local choir, the Soweto Spiritual Singers, who

ended up performing the song with him at the opening ceremony.

The song, called Sign of a Victory, was featured on a compilation of tracks commissioned by Sony, the record label that held the licence for the music during the World Cup. A number of songs on the album drew attention to artists that have been plying their trade in South Africa for many years.

Kwaito all-stars TKZee collaborated with the hip-at-the-moment Pitbull (of I Know You Want Me fame), while Afro-pop group Uju came together with London-born Judy Bailey and the track Spirit of Freedom was the result. These all brought incredible exposure for the local and African artists involved.

It went a step further, too – it wasn’t just official songs that gained popularity. K’Naan’s Waving Flag, another anthemic soundtrack of the tournament, sent this Somalian-born rapper into superstardom. Before his association with Coca-Cola, only his hardcore fans knew who he was. Once Coke commissioned his song to be remixed and adapted for the World Cup, and he went all over the continent on a trophy tour, he was spun into the global musical orbit.

Then there’s the MTN track Everywhere You Go, which brought together former Destiny’s Child member and Grammy-winning singer Kelly Rowland with a host of local and African rappers, such as Slikour and Zuluboy.

The artists performing as part of the World Cup kickoff celebration concert also benefited from sharing a stage with international stars like Alicia Keys, Black Eyed Peas and John Legend. This was even more evident when Legend and Keys both performed songs with local artists on stage to a worldwide audience of an estimated one billion people. There was not a dry eye in the house during Keys’ rendition of the late Brenda Fassie’s Too Late for Mama with Blk Jks.

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For all the criticism these various World Cup music collaborations raised, it seems the benefits for local musicians far outweighed the negative aspects. Going forward, these collaborations offer possibilities that could come out in the future. But SAMRO’s General Manager: Strategy and Business Development, Yavi Madurai, has a few words of advice to offer those musicians looking to collaborate with others – locally or internationally.

“ Make sure you get all your documentation sorted out” She says that artists may tend to get caught up in the euphoria of the creative process, but that it’s vital that the legalities are taken care of. “If you feel awkward about doing it or you just don’t like it, then delegate: get an agent or a manager to do it. But it must be done,” stresses Madurai.

GIBB SLAMS BRAZIL’S PLANS TO BRING COPYRIGHT UNDER STATE CONTROLBee Gees member Robin Gibb, who is also president of the International Confederation of Authors and Composers (CISAC), has come out in solidarity with Brazilian musicians in anticipation of restrictive reforms to the country’s copyright law.

The Brazilian government is currently proposing several changes, including legalising the copying of entire books if they were obtained lawfully, legalising the copying of out-of-print books or recordings, and changing the term of copyright to 70 years from the publication date instead of from the death of the creator.

The biggest change, however, and the one that motivated creators and their societies to come together in opposition, is the creation of the Brazilian Copyright Institute (IBDA), a public body that would supervise the activities of authors’ societies. In response to this, Brazilian artists formed the National Culture and Copyright Committee (CNDCA), which aims to mobilise artists to defend their rights. Its launch in April 2010 was attended by over 300 Brazilian artists who oppose the reforms.

Gibb made a passionate plea in a video on CISAC’s website (www.cisac.org). “When governments are willing to support creators’ organisations, we are truly happy, but when I hear it suggested that it is better for the artist that their governments administer their rights in their name, we become worried.”

He said the Brazilian collective management system had evolved over the last few years to become one of the most efficient in Latin America. “Authors’ rights allow artists to live with dignity, which is why they are, above all, human rights,” he added.

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NOTE HOW LOCALMUSICIANSCAN PROFIT FROM COLLABORATIONS

She says there are two words to remember: agree and notify. Sign an agreement, stating who has contributed what to the collaboration, and then take this and register it.

“If you bring the documentation to SAMRO, we will register it on a central database that is international. So if there are any disputes down the line, we have the necessary documentation to sort it out. If a work is in suspense, then no monies will be paid out to anyone.” If an artist belongs to a publishing label such as EMI, Sony or any of the others, then that publisher would usually sort out the documentation. If the artist is working on his or her own, then they would need to make sure they get it done themselves.

Either way, says Madurai, it must be done. “It may be boring and may not have an immediate value, but to be financially rewarded for the use of your compositions time and again, it’s something that must be done.”

MAIN FEATURE

THREE SISTAS WHO ARE DOIN’ IT FOR THEMSELVES To celebrate Women’s Month in August and Heritage Month in September, SAMRO Notes is focusing on three exceptional women who have taken the reins and made their mark on the South African music industry.

Judith Sephuma, Auriol Hays and Tasha Baxter are the three dynamic “sistas” that we are celebrating in this issue. Being a woman can be challenging in a male-dominated music world, especially when it comes to balancing career and family, bringing forth your individual artistic vision and being in control of your music as abusiness and revenue stream. From Cape Town to Limpopo, these three phenomenal women have been doing it for themselves, beating the odds. Seemingly from very different backgrounds, what each of these amazing women has in common is the tenacity to navigate their own path in the cut-throat music industry with poise and sophistication. So what does it take for woman to make it in the music industry? We touched base with the three ladies to find out what makes them tick and to get some key insights into their success and how young, up-and-coming sistas can get a piece of the pie…

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JUDITH SEPHUMA: ‘YOUR MUSIC IS A LEGACY IN THE MAKING’

Afro-jazz artist Judith Sephuma has been making beautiful music since her debut in the ’90s with hit songs such as A Cry, A Smile, A Dance. From her humble beginnings in Limpopo to her current status as one of the most prolific songstresses of her generation, her understanding of music as business ensures that she stays at the top of her game.

JS Who are your musical influences?

SN I am inspired by a lot of artist that have come and gone through time. But mostly it is life, nature and experiences that I go through daily: being able to overcome certain things in one’s life and still remaining on top of every situation.

JS What lessons have you learnt from those who inspire you, to get to where you are today?

SN Well, I am still learning, but what I can tell you is that we are not meant to run when the going gets tough. We need to learn how to have staying power through it all. I also know that in this industry, competition doesn’t really work for me. I have learned that we are all unique and are all very special. That’s how God created us. We have different impacts on people because of our uniqueness.

JS What does it take to successfully enter the music market?

SN I believe that there is no formula for making it in this industry but only hard work. So you just do your best and hope for the best. Most of all, no gambling is allowed with your career. That’s when we will fail. I think one must just believe that what they are doing will work, no matter what. Love what you do more than anything.

JS Please share with us some of your trials and successes that have shaped your musical path.

SN You know, trials are there every day. I live life for today and tomorrow is all I have; yesterday came and went. So what I went through yesterday brought me to where I am today. The one thing was not being accepted because I wasn’t light-skinned enough to fit in with other kids when I was growing up. But that made me realise that I am a beautiful person and there had to be something really special about me.

So I used that to my advantage and started focusing on the positive things in me.

JS Give us some tips on how you ensure that your brand and your work is administered properly.

SN I run my career as a business. Judith Sephuma is managed by Lalomba Music, which is also my recording label. Growth comes when one stops being afraid of the unknown. I realised that I put myself under pressure when I don’t know what’s happening, so I decided to employ staff that will manage my affairs closely according to my rules, but also people that I could love and have them love what I do and me.

Another point is to always look good on stage and to always remember that you are as good as your last performance. So do your best at all times and always try to perfect your craft.

SN A good and clear communication with clients is very important; arguments result in you being out of work or disrespected. So I will always double-check on things before I misunderstand anything and, most importantly, document stuff.

If your brand is to get to another level, there needs to be a differentiation between employer, employee and friends.

SN Always remember to focus on what your goal is. This industry does not have rules that suite individuals, they suite whoever works hard. So focus on you and your gift and your business. Make every moment of your career count.

JS Why is it important to make use of the services that an organisation such as SAMRO has to offer?

SN My music is a very personal thing and I speak on behalf of all artists on this. It’s important that I am protected so that I can keep working hard and be inspired to always produce. It would be a mess if we were just relying on ourselves to keep track of our legacy. Your music is a legacy in the making. Every song, every note has to be very personal.

SN SAMRO helps us to keep creating the beautiful music – especially when you get royalties, but it is more than just about getting royalties. You are protected so that no one can abuse your legacy. Everyone needs to be a member of SAMRO if you are a creative person. If you are an artist, it’s also up to you to educate yourself about all of these things and to do research. Every day should be a learning curve if you are a creative person.

AURIOL HAYS: ‘WHEN MUSIC STOPS BEING FUN, YOU ARE IN TROUBLE’Auriol Hays is a young, up-and-coming singer and songwriter with an old soul who hails from the Western Cape. Her critically acclaimed debut album, Behind Closed Doors, with its appealing jazzy-pop sensibility, has made her one of the most sought-after musicians on the scene.

AH Who are your musical influences?

SN I am inspired by the usual suspects – Ella Fitzgerald, Nina Simone, Sarah Vaughan, Anita O’Day, John Lee Hooker and any kick-ass blues song. The there’s Radiohead and all the bad pop songs my mother listened to when I was a kid.

AH What lessons have you learnt from those who inspire you, to get to where you are today?

SN In general it’s the bitter, angry musicians that inspire me – people who have fought tooth and nail to be where they are. I think of artists such as Nina Simone especially, who was so bitter. I watch her live performances and two things strike me immediately: that she is brilliant and that I should try not to become as bitter or sad when things don’t go my way. I think of Billie [Holiday] – who must have been one crazy hellcat – who found a measure of peace when she sang. And that’s the beauty of music. You can sing and forget all your insecurities. In fact when I am really low, I close the doors and sing all the jazz and blues songs I know. My poor, poor neighbours…

AH Z What does it take to successfully enter the music market?

SN That depends on how you define success. That definition will determine how much work you have to do. There were nights when I felt so lost and unsure of myself or my ability to sing. So I only offered one prayer to my “people upstairs”. I told them that all I wanted was to sing… Everything else came from that single desire. So getting very clear on what success would look and feel like is very important.

AHPlease share with us some of your trials and successes that have shaped your musical path. SN The worse thing I have had to put up with is people. People who made me feel as though everything about me is wrong or not enough. It can be very disheartening, but I try not to let it get me down. And when it does, I do the only thing I can do: I kill them off in the songs I write. The best musical experience I had was singing in a small bar in Buccleuch with Keira Witherkay and her acoustic band. Something very special and intimate happens when you sing and happen to be heartbroken and oh so very sad. The way that I emoted those jazz songs was pure magic. I should be sad and depressed more… lol! AH Give us some tips on how you ensure that your brand and your work is administered properly. SN Well, the fact that you should join SAMRO goes without question. It is usually the first thing I ask musicians. Then, having a clear idea of what you would like to achieve always helps. It gives you a clear goal and a reason to wake up in the morning.You should always be ready to listen to others and take advice. Now, you might not always agree with them because, let’s face it, some people talk a lot of crap. Rather ask yourself if the advice you are given can be adapted to your needs. When music stops being fun, you are in trouble.

AH Why is it important to make use of the services that an organisation such as SAMRO has to offer?

SN The fact is that most musicians have no business sense. They get up, write music, and perform it and dream big. Very often, the business of music is left to people who cannot always be trusted. An organisation like SAMRO gives musicians the resources so they can make proper business decisions. It always helps being informed of your rights and wrongs! .




Tasha Baxter: ‘There is nothing stopping you but yourself’Feisty SAMA award-winning singer, songwriter, producer, musician and sound engineer Tasha Baxter, who had a smash hit debut album with Colour of Me, understands the ups and downs of this business. But her passion for music and her never-say-die attitude have been a driving force that pushes her to keep reaching new heights.

TB Who are your musical influences?

SN I can honestly say it is a conglomeration of music and memories that influence my work. It is hard not to be influenced, even if it is subliminally, so it is hard to pinpoint. I can say, however, that I love everything from jazz and blues to metal, drum ’n bass, most electronic music and most in between. I can’t stand R&B, though!

SN As a teenager, No Doubt and Gwen Stefani were a big influence on me; so were Aretha Franklin, Etta James and Miles Davis. I love being versatile and chopping and changing on a regular basis. If I am not growing, evolving and learning, I am bored to death.

TB What lessons have you learnt from those who inspire you, to get to where you are today?

SN The lessons I have learnt have come from my own personal life, as it is all I know and is real to me. I have learned that sometimes you need to unlearn and that is a task on its own; your ways can hinder you if you are not keeping a close check on yourself at all times. Having my two kids by the age of 21, my life was quickly put into perspective and I realised my values at a young age. I learnt to be tenacious and resilient. Time management is huge, and something I have to work at every day! Having a healthy mind and body helps, which is also something I am constantly working on. Where I am today will change tomorrow and the next day, and I can safely say I am not where I will be in a few years’ time, and if I get comfortable and think I have “made it” then I am very mistaken. You need support from family and friends, you need to keep financially stable and you need to persevere with passion and determination, knowing that you will have friends and enemies along the way

TB What does it take to successfully enter the music market?

SN You need to have talent, balls of steel and thick skin! It’s hard out there and there are many waiting in the wings to “one-up” you every second of the day. So don’t sleep on your stuff! You are never too young, too old, too poor, too fat, too thin, too short. If you have that raw talent, there is nothing stopping you but yourself. Set your own goals, polish your craft, learn another and be humble!

TB Please share with us some of your trials and successes that have shaped your musical path.

SN The last two years have been the most hectic for me. All that I knew and was comfortable with changed. This then meant that I had to change: my thinking, my ways, my relationships – everything. My boyfriend of five years moved to Sydney, I was struggling financially, trying to support myself and the kids, my car was stolen with my laptop that had all my new material on it, my brand-new guitar was in the car too (my fault completely), I had debt coming out my ears, and music was becoming my downfall because I was so desperate to make it work, I dropped the ball with everything else – my kids, my relationship, my family and myself. When days are dark, friends are few – and in this industry, it’s as fickle as a wolf in sheep’s clothing. I have been focusing on what life really means to me, my children and me. I write music for commercials at Freq’ncy Music, which I am loving: learning to produce my own stuff and make pictures sound pretty has been SOOO rewarding. I’ve been finishing the second album, which is by far my best work as it is as true and raw as it comes. I’ve also not been trying to write songs just to get airplay on the major stations – which, by the way, have now changed their tune completely by playing the likes of Die Antwoord and Jack Parow. Things are changing and it’s great. Finally!

TB Give us some tips on how you ensure that your brand and your work is administered properly.

SN Admin is my absolute worst! And not being organised and admin-savvy has cost me bucketloads. Your brand is everything; I, for one, can tell you that I have seen the pros and cons to this. Have a logo, have good PR – PR is king – have a good publisher (I use Jay Savage at Sony ATV), make sure you send in all your songs, your gigs and performances, keep in touch with friends and liaise with SAMRO on a regular basis. If you can, start your own label, but make sure you have good legal representation and someone to manage the admin.

TB Why is it important to make use of the services that an organisation such as SAMRO has to offer?

SN SAMRO has really been amazing to me over the years; I have been a member for ages and have received some great wads of cash from airplay on my music.

Being in the advertising industry too, they are a huge part of the extra earnings I make when I write music and do vocals for TV and radio commercials. They have always had my back: I have made no money from sales of my album at all, which is part of the reason why [my former record label] dropped me, but the amount of songs I wrote and had played on stations nationwide and internationally has made up for it hugely.

SAMRO is about protecting the rights of artists. I can always count on them to collect the royalties, send me my statements, newsletters and invites to events that help us grow as independent artists. So at this stage, I am releasing independently, and having a great relationship with SAMRO over the years proves that I can release digitally all over the world, not give half the cash away to a label, and still make good cash from airplay and licence deals, international collaborations and performances.


DUBUTANTE’S POLISHED SOUNDLike a precious gem, Ternielle Nelson’s debut CD titled ‘Unearthed’ can be compared to a rare find.

Born in Durban, this Joburg resident has broken into the music industry almost silently, yet many have started sitting up and taking notice of the young singer-songwriter, who dedicates her musical talent to her late mother and young daughter.

She strums to her own tune, thoughts and music, baring the bittersweet truth of her experi-ences though her work, a genre-defying sound laced with elements of jazz and neo-soul.

Discovered by jazz stalwart Selaelo Selota, Nelson’s talents were put to the test when he ap-proached her to step into his recording studio and perfect her art – and she has not looked back since.

She chose the title of her 10-track debut album based on her journey in life: the passing of her parents, the birth of her baby and her thoughts on being a young African woman.

‘Unearthed’ features a wide range of eclectic influences, with a hint of hot melodies and spicy lyrics. This offering definitely leaves one wishing for more…

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MUSICINDUSTRY ROUND UP>>

Artistic integrity. Media and marketing and digital savvy. Great songwriting. A willingness to work – hard! These are just some of the attributes of a successful artist, according to a survey of some of the top managers, booking agents and promoters in South Africa.

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PSSST… NEED SOME HOT TIPS? SA MUSIC EXPERTS GIVE SAMRO NOTES THE LOWDOWN ON HOW TO MAKE IT IN THE CUT-THROAT MUSIC BIZ

THE SECRET TO SUREFIRE MUSIC SUCCESS

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And they are not wrong: take a look at those artists who are

currently impacting on the national and international music

industry and you can see it takes more than luck

and talent to make an impact.

Bands like The Parlotones, Blk Jks and Tidal Waves (all featured in the May 2010 issue of SAMRO Notes) are not sitting back and waiting for things to happen: all three are actively pursuing the gaps that have opened for them internationally with commitment, vision and lots of blood, sweat and tears.

It’s the same for several other South African artists who’re creating a stir internationally.

Locnville now have a deal with Jive in the US (Epic in the UK) and are playing in places like Sweden – keeping their fans up to date with regular Twitter updates and a website that allows for interaction.

Rap-rave outfit Die Antwoord is currently undertaking the most extensive live tour ever by a South African act, playing to sold-out audiences in Europe, the US and Japan – their cross-country gallivanting putting no stop to Ninja and Yo-landi’s extensive Facebook contact with their fans.

Artists like Lira and Prime Circle are also hard at work, preparing to take their successful South African careers to new markets in 2011.

But the fact is that even in a relatively small market like South Africa (by global standards), it takes something other than just existing to be noticed. As one of the cover stars of this issue of SAMRO Notes, Auriol Hays, puts it: “I wish I could say that all it takes to be successful is a great voice and hard work, but that would not be entirely honest! There are thousands of amazingly talented singers who are still singing in their bathrooms or dodgy clubs. Having a plan and a clear idea about what you want from your career is vital.

PLANNING AND SHEER HARD WORKFor Roshnie Moonsammy, who runs the Urban Voices Festival, the plan should start with several essential ingredients: “Hard work, quality, good management, knowing your music rights, good social and cultural knowledge of life and the world, enjoying people, coming across well in the media – and that’s just for starters!

“You should also be able to work well with your fellow musicians – always trying new things, collaborating, working with different producers, and having a sense of what is going on internationally and locally in music.”

It may sound like a tall order but, says Billboard’s correspondent for South Africa, Diane Coetzer, it’s been proved doable and it shows in the artists who take their careers seriously.

“Some artists do buy into the culture of expectancy, but this only works for a short period of time,” comments Coetzer. “Artists who are successful are thinking about all aspects of their career, even if they are not undertaking each part themselves.

“Simple things, like turning up for an interview with a member of the press on time and having thought through what you want to say makes a lasting impression. Believe me, if an artist does break through internationally, the press isn’t going to indulge them if they insist on treating the journalist’s time as less valuable than theirs for very long – no matter how talented they may be.”

Morgan Ross, who handles PR and events at G-Management, reiterates the hard work aspect of making a successful jump from your town to a big city, from Cape Town to Joburg, and from South Africa to beyond our borders. “An artist who is lazy won’t get anywhere. Too often, I think artists sit back and let managers or record companies do all the work, but that means nothing if the artist isn’t hard-working.”

The need for artists to take an active role in their career is something Moonsammy also believes strongly in, saying: “I have been working internationally since 1985 and if I have learnt one thing, it’s that you must be driven. Don’t put your destiny in your record label and manager but work together to achieve success.”

WORK THE CROWDMantwa Odutayo, General Manager at T-Musicman (one of South Africa’s most successful promoters), says that one of the keys to getting noticed in the crush of artists out there is knowing your audience.

“Artists must be true to themselves and to the markets they want to appeal to,” says Odutayo. “The most important people in this respect are the audiences. If an act appeals to an audience, then we (T-Musicman) will take note.”

For this veteran promoter, a defining feature of all successful artists she has worked with on projects like Joy of Jazz is artistic integrity. “Artists that have artistic integrity and present a performance that has been clearly defined to appeal to their audience is what I see as a common thread in the international and local artists we work with who have managed to build a successful career.”

KNOW YOUR RIGHTS!Moonsammy believes strongly in the self-empowerment element of a successful career. “I have just done the SAMRO music rights course,” she reveals, referring to SAMRO’s Business Principles of Songwriting and Music Publishing part-time course being run in partnership with Wits University. “So few people in the industry understand the value of this kind of thing. You need to get to grips about composing, your Needletime rights, publishing and more, so you don’t get ripped off and end up having people donate for your burial!” A forum like the annual Moshito Music Conference and Exhibition is a South African-specific space to enhance your knowledge and grapple with current hot topics (like the digital domain) – but anyone with access to the internet (even at a public café) can research and empower themselves with the knowledge needed to have a basic and working knowledge of music rights and more.

HONE YOUR SONGWRITING CRAFTHays is adamant that artists should not sit back and take their gifts for granted. The singer and songwriter – who in 2010 will notch up performances at the Montreux Jazz Festival, the Joburg Arts Alive International Festival and Joy of Jazz – says thinking “practically about the songs you sing and write” is key.

“One good song, even a pop one, could give you the boost you need to get noticed. So, great songwriting is essential.”

EMBRACE CYBERSPACEDo the digital dance – but do it with quality, as Moonsammy suggests. When Die Antwoord shot to global fame on the back of the viral video Enter the

Ninja (now edging towards six million views since it was loaded six months ago), the video itself was hailed as exceptional and the music acclaimed as delivering something fresh to the global music community. The idea of integrity and authenticity also comes into play here. As Hays puts it, “Tapping into social media really does help. Facebook, Twitter and even MySpace makes you more accessible to fans. This is especially important as music is so easy to obtain these days. If the fans know that you take an interest and answer their questions when you do get them, they will be more willing to come to your shows and buy your CDs.”

Adds Moonsammy, “Artists need to be aware of the marketing and media aspects of the music industry and have the right attitude and zeal.”

It’s not just about being a star, she says: “It’s about developing your brain with a strong consciousness of the cultural and social issues. Look at how well Lira is doing! She is intellectually developed and conscious, and great for local and international media.”

GET YOUR MUSIC ON THE RADIOFinally, don’t ever underestimate the power of the basic tools of the trade – from strong and well-crafted songwriting to stellar live shows to the role of radio.

“Radio, radio, radio,” says G-Management’s Ross, when asked what she thinks is important in sustaining and growing a successful artist – both at home and abroad.

“Radio play is often the most powerful tool for artists to get noticed. It is their most important form of advertising. We have also seen a huge shift from traditional to digital marketing, and those artists who are active online, and are gaining a fanbase digitally, are often a step ahead.”

SO WHAT’S THE RECIPE FOR SUCCESS?So there you have it. The days of sitting back and relying on your creative talent to do the work for you are gone: if you want to make a surefire success of your career internationally – or indeed, here at home – get to work. Make plans. Take an interest and learn about the environment in which you operate. Get active in the digital space. Work your songwriting craft. Pour your heart and soul into the live gigs you do, no matter how big or small.

And take heart: there is a growing global interest in all forms of homegrown music, which means South Africa’s time is coming!

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THE TRADITIONAL KNOWLEDGE BILL AND YOUR ROYALTIESThe SAMRO Group, being SAMRO and its subsidiary company DALRO, is in the business of ensuring that you, the copyright owner, are compensated for the use of your work.

So, whether your song is performed at a public concert, or played on the radio or in a nightclub, it is SAMRO’s responsibility to collect the royalties due to you and to ensure that these are paid to you.

Similarly, as an author, DALRO would collect royalties arising from the photocopying of your book for use in university course-packs and pay these over to you. It therefore follows that SAMRO will always do what it can to protect not only your royalty, but your right to earn that royalty.

The SAMRO Group’s interest in the Intellectual Property Laws Amendment Bill (popularly known as the Traditional Knowledge Bill) is one example of its commitment to protecting your right to earn a royalty.

The Traditional Knowledge Bill is a law proposed by the Department of Trade and Industry (DTI), which tries to use intellectual property laws to protect traditional knowledge.

Despite the concerns that SAMRO has with this Bill, the organisation is fully behind the development of a framework to protect traditional knowledge.

“SAMRO is very aware of the fact that elements of the traditional knowledge of South African communities have been expropriated and exploited for centuries without due acknowledgement or compensation being given to the communities,” says Nothando Migogo Hlatshwayo, General Manager: Corporate and Legal at DALRO.

“It is for this reason that implementing an appropriate way of protecting this knowledge from unauthorised use and, where relevant, compensating its creators and owners, is important and overdue.”

However, SAMRO is of the view that such a legal framework should be developed using a system of law specifically developed for traditional knowledge, arguing that the Copyright Act should not be amended to accommodate traditional knowledge.

“What we propose is that a sui generis law (i.e. a unique law of its own kind) should be specially developed to protect traditional knowledge and also assist communities in ensuring that they have adequate control over the use and commercialisation of their knowledge,” explains Hlatshwayo.

She says that the Bill may sow confusion and uncertainty among artists. Ownership within the current intellectual property framework is a standard and predictable concept where the owner of any type of intellectual property is either the creator or any other person that the creator has assigned the ownership to.

According to the Bill, a performer (not necessarily the creator) is the owner of the right under the Performers’ Protection Act, a government trust fund (the National Trust Fund for Traditional Intellectual Property) would be the owner under the Copyright Act, and the traditional community would be the owner under the Trade Marks Act and the Designs Act.

In addition to potential legal problems, authors and composers could lose the copyright in any future work they create that is based on a traditional song or story. Furthermore, the current copyright framework that protects creators’ right to royalties would not be guaranteed.

“It is for these reasons that we strongly feel that the Bill is doing more harm than good when trying to protect community-based traditional rights using an individual-based intellectual property system,” she says.

SAMRO’s support for a stand-alone law for traditional knowledge was echoed by representatives of the labour and business sectors in the July 2010 Parliamentary hearings of the Portfolio Committee on Trade and Industry. It was also supported by the Department of Science and Technology, as well as a number of MPs present in Parliament.

Following the hearings, the MPs asked the DTI to produce a report explaining why the Traditional Knowledge Bill is in conflict with the recommendations made by labour and business, the Africa Group at the World Intellectual Property Organisation (WIPO), as well as numerous academics working in the area of intellectual property and traditional knowledge.

While awaiting this report, SAMRO and DALRO shall continue to attempt to engage with the DTI on this matter while continuing to protect your rights and interests.

For more information on the Intellectual Property Laws Amendment Bill, log on to www.samro.org.za.

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The Southern African Music Rights Organisation has grown into arguably one of the most respected copyright administration bodies in Africa, thanks in part to the careful attention that is paid tolegal matters.

Sibusiso Mthenjane, Manager of SAMRO’s Legal Services Department within the Corporate Affairs Division, explains the various functions of his department as it relates to the rest of the organisation.

“SAMRO has different rights that we administer,” he says. “These include Performing rights, Mechanical rights and Needletime rights. As an organisation we need to see to it that all these rights are administered effectively and our department ensures that people who need to sign contracts (or licence agreements) in relation to all these rights, do so.”

The Legal Services Department has an obligation to advise the company on general legal principles that might affect the company, not only on copyright matters.

“We have an obligation to see to it that the users of music have got proper licences,” he said. “In terms of the Copyright Act, the owners of music have the exclusive right to issue licences for the usage of their music.

“In this way, we assist the licensing department with formulating licence agreements and monitoring the process of signing of those licence agreements,” he added.

APPLYING THE LAW TO PROTECT MEMBERS’ RIGHTS

The next process is to ensure that music users with licences pay for their music usage, and to collect monies if they don’t pay.

“Here we assist our control department, which is tasked with collecting from those licensees who have licences with us,” he said. “If they are not paying, they are handed over to us and we deal with that.

“If they are still refusing to pay, we hand them over to our attorneys. We have an obligation to ensure that attorneys who have received instruction from us perform as expected according to the standards set by SAMRO.”

When it comes to instituting action against people who use music without licences, SAMRO statistics reveal that the most common “infringers” are shebeens and community radio stations. This means that music being played in these establishments is not receiving any recognition for being played, and therefore there is no reward for the musicians.

Mthenjane said the department also assists the Writer Services Department with distribution of death benefits linked to the SAMRO retirement annuity fund (SRAF). “We also help Writer Services with identifying successor members. When you join SAMRO you become the main member. If you should die, we have to appoint an individual member who will continue to benefit from the royalties that you (the member) accumulate,” he said.

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Each member with active works is registered with administrator of the SRAF, which is Alexander Forbes. Beneficiaries are identified to receive benefits that accrue after one of SAMRO’s members has died, and the money that has been accumulating is distributed to the rightful beneficiaries.

He said: “We subscribe to the fund on behalf of the members and the only condition is that you have to be a member of SAMRO and your works must be active then we start contributing.”

According to the Copyright Act, a member benefits from royalties as long as he/she is alive, but after death there is a 50-year period during which his/her heirs or beneficiaries will benefit.

Once this period expires, the works go into the public domain and can be used freely. Here, the function that the Legal Services Department is tasked with is to elect successor members.

“Lobbying is also part of our task,” Mthenjane said. “We look at existing legislation, identify where it can be improved and submit our findings to internal structures of the organisation, which are then tasked with lobbying government.”

Contact SAMRO Legal Services at (011) 712-8000.

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SAMRO HELPS COMPOSER’S LEGACY LIVE ONWhen renowned composer Siva Devar died suddenly in December 2003 aged just 46, the last thing his devastated family needed was wrangling over his estate and his royalties. But his widow was pleasantly surprised by the compassion and assistance displayed by SAMRO during this difficult time.

“I felt very cared for and found SAMRO incredibly supportive,” relates Brenda Devar-Sakelarides, who is an arts practitioner herself and also has her own publishing company listed with SAMRO. Her late husband composed, among others, the Isidingo theme music.Then-SAMRO CEO Rob Hooijer came to see her personally “after the dust had settled” and offered support, while explaining how she, as well as Siva’s five children from both his marriages, would be the beneficiaries since he died intestate.“It was all very respectfully handled. I definitely got the sense that there was an open door; it was reassuring to know SAMRO would offer support and help. They were there for me 100%, and I treasure the relationship

LEGACY


ABIGAIL KUBEKA’S TIMELESS TUNE

Grand dame of SA music says that our older musicians are our living heritage and should have more platforms to perform

Mention any of South Africa’s great artists and the name Abigail Kubeka will reel in a memory or two of their time on stage together, behind a mic singing, at a club dancing or working on a musical. Their memories will hark back to the days when Abdullah Ibrahim was still called Dollar Brand, and when Kubeka went to live with Miriam Makeba after her parents shut her out of the house, not understanding why their daughter wanted to be what they called a “straatsmeid” for pursuing her musical talent. Her journey might have started out rocky, but she had what it takes to stand the test of time – and the test of tunes.At 70, this soulful singer has travelled the world and back, but it’s Soweto that has always remained her home. Fellow artists have left the country to seek greener pastures, to escape the apartheid regime and make a life elsewhere, but Kubeka’s heart has always remained in South Africa.“This is by choice; yes, I travelled the world but always felt like this is where I belong. Many other friends left SA and did exceptionally well and are still doing well but me, I chose a different route. I love this country. I love my home and I don’t ever want to leave it.”Beautifully clad in sequinned gowns, opaque tights and nine-inch heels, it’s clear this diva’s singing days are far from over.At the closing ceremony of the 2010 FIFA World Cup, Kubeka was among a handful of female artists representing the country and the timeless talent that has emerged from South Africa. Kubeka applauds new talent but does say that modern-day “doof-doof” music has

eclipsed the older generation who are still in the business.

“I can no longer perform in a club; besides, my genre of music is not for the backdrop of a disco – it’s soulful, it’s jazzy, it’s cabaret and we don’t have venues any more where people come and dine and listen to good music. We really need those to revive the older musicians who still sing.” She says that singing was her friend Makeba’s passion, but had there been a market for her music at home and venues for her to perform in, perhaps she would have taken her last bow in front of a South African audience on a South African stage.She recalls the days when musicians were in it together, when there was something to fight for and when they would all support each other. Today, she reflects, perhaps all they fought for is lost, as some musicians seem to have forgotten the true meaning of being gifted with a voice and are more focused on the money.Women mentors have moulded Kubeka’s life as a performer. Her fondest memories are of her mother, for raising her as a working woman with vigour and strength, and of Makeba, who took her under her wing and not only taught her about music, but about life. In turn, Kubeka has passed down strong family values to her daughter and grandchild – ensuring that her legacy of personal strength and forbearance, in addition to her music, endures.

I have with them.”After sorting out the relevant paperwork, such as birth certificates and executor documents, with SAMRO’s legal department, Brenda and the children soon began benefiting from Siva’s musical legacy in the form of royalties and a SAMRO retirement annuity payout. “I requested that my child’s RA portion went to Siva’s mom, and SAMRO respected my wishes,” she says.As a priceless gift that carries on giving, the regular royalty credits have even helped the children attend private school and two eldest enrol in university in Durban. “That’s the miracle of intellectual property – Siva promised to look after his children, and he has never reneged on that promise,” says Brenda.

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She says that right down to receiving individual statements for each child, “the accounting and admin has been impeccable”.Encouraged by SAMRO’s open-door approach, Brenda advises fellow SAMRO members: “Communicate and have one-on-one face-to-face interaction with SAMRO. They have the capacity and willingness to help you with your queries. If you are prepared to work with SAMRO and provide them with the information and documentation they need, it can be a win-win situation.”

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MOSHITO 2010

MAKE MUSIC YOUR BUSINESS AT MOSHITO 2010Songwriters are in for a stimulating and engaging Moshito Music Conferenceand Exhibition this year.

Dubbed Moshito 2010, the annual event – now in its seventh year – takes place from 1 to 3 September at Museum Africa in Newtown, Johannesburg and features a conference programme that’s poised to deliver some strong content to SAMRO’s members, and others.

It’s no surprise that giving songwriters the tools and up-to-date information to significantly advance their career should feature at Moshito 2010: SAMRO is a founding member of South Africa’s leading music industry event.

Says Yavi Madurai, General Manager: Strategy and Business Development at SAMRO, “SAMRO is a proud supporter of Moshito – as its founder, we will continue to support the growth initiatives as well as contributing to making Moshito bigger and better every year.”

Read on for a full programme of events at Moshito 2010. And don’t forget that as a delegate you can visit the Moshito 2010 Expo and catch up with us at the SAMRO stand, as well as get a feel for other important goods and services in the South African and international music industry.

To round off your full Moshito 2010 experience, make sure you also take advantage of the free workshops and free live showcases detailed here – including the opening networking event and the closing Africa Unites concert, which places the spotlight well and truly on the real driving force behind Moshito: innovative, mesmerising, original music that deserves the

broadest platform possible!

UK PUBLISHING EXPERT HEADS FOR MOSHITONot to be missed on the Moshito 2010 programme is Stephen Navin – one of the event’s international speakers.

Since 2006, Navin has been the CEO of the Independent Music Publishers Association (IMPA), representing the profession of music publishing in the UK. Prior to that, Navin – from 2002 to 2005 – was the exclusive adviser to the Secretary of State at the UK’s Department of Culture, Media and Sport on all matters relating to music – social, cultural, educational, and economic. He came to that job following several years as acting CEO of the V2 Music Group, reporting to Sir Richard Branson, Chairman of the Virgin Group.

IMPA was formed to “safeguard and promote the interests of music publishers and the writers signed to them; represent these interests to government, the music industry, the media and the public; provide publishers with a forum, a collective voice and a wide range of benefits, services and training courses; promote an understanding of the value of music and the importance of copyright; and provide information and guidance to members of the public.”

Navin will be taking part in the sessions – and is sure to provide real food for thought for SAMRO’s members.

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INDIGENOUS KNOWLEDGE SYSTEMS BILL UNDER SCRUTINYIn the last issue of SAMRO Notes (May 2010), several experts unbundled the Department of Trade and Industry’s Intellectual Property Amendment Bill (also known as the Indigenous Knowledge Systems Bill) to amend the intellectual property statutes – including the Trademarks Act, Copyright Act, Designs Act and Performers Protection Act – to make provision for the protection of “traditional knowledge”.

A session during Moshito 2010 will give those involved in the music industry the chance to debate this Bill in an open forum – and it’s expected to be one of the most engaging sessions at the event, and of real interest to songwriters working in traditional music.

MEATY INDUSTRY DISCUSSIONS ON THE MENUThere are plenty of discussions that will be of significant benefit to SAMRO’s members – among them ‘Needletime: The SA Industry’s Copyright Dilemma’, which takes place on 2 September and takes an in-depth look at this challenging issue on the South African music industry’s playing field.

‘Sync or Swim’ on 2 September is yet another Moshito 2010 programme session that should not be missed by songwriters looking for ways to exploit their intellectual property across the multiple platforms that are now available to them.

And for those intent on looking to new markets for a way to sustain their career, the session titled ‘How Can The SA Music Industry Unlock the Global Market – And Which Markets to Target?’ on 2 September is similarly one to get to.

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GETTING DOWN TO THE NITTY-GRITTYSAMRO will be among the music industry organisations giving a briefing on its benefits, structure and more on 2 September – making it the perfect place to ask questions and gain more insight into SAMRO’s current positioning in the South African music marketplace.

There are also presentations that address the nitty-gritty of financial planning (‘Social Security: Making Your Money Stretch’ on 1 September) and tax compliance.

The latter session on tax compliance may not sound as riveting as, say, the 2 September session titled ‘Music, Mobile and Gadgets: How Can the Music Industry Help Maximise the Potential of the Mobile and Download Market?’, but it is essential for any songwriter or musician who wants to ensure they are

The winners of the last SAMRO Overseas Scholarships competition for composers, Matthijs van Dyk and Gareth Walwyn, have been busy building their careers and profiles since they were each awarded a scholarship four years ago.

Van Dijk, the son of classical composer, conductor and teacher Péter Louis van Dijk and brother of Xandi, founder member of the Sontonga String Quartet, continued the family tradition of musical excellence by winning the Western Art category of the 2006 SAMRO Overseas Scholarship for Composers.To date he has used part of his award to take master classes and private lessons in New York and Europe, and to immerse himself in the international music scene. Now back in Cape Town, Van Dijk is brimming with ideas and inspiration to revitalise South African classical music and make it more accessible to local audiences by, inter alia, forming a contemporary music ensemble in the Big Apple tradition. “There are opportunities here to build the scene and I am really keen to make a difference,” the 27-year-old composer and arranger says. “The SAMRO scholarship is definitely a great way to get the ball rolling and helped me find my feet musically.”Having won the Jazz section of the competition, Walwyn was eager to pursue his studies in Latin American music. “I wanted to understudy Cuban musicians who I admire, but getting to Cuba was a project in itself,” he recalls.He decided to go to Mexico on a working visa and learn as much Spanish as possible, before flying to Havana on a tourist visa. There, he discovered that there was no formal training available for Cuban music, which was “a national consciousness”, and that there was “a brilliant, professional-quality band on every corner”. Walwyn managed to obtain private lessons with a local Cuban outfit, as well as playing in a professional salsa outfit in Mexico and getting tips from none other than Buena Vista Social Club member Juan de Marcos González.The 33-year-old adventurer is now back in SA, concentrating on completing his PhD at Rhodes University. At the same time he is involved in a project very near to his heart – helping township children gain access to quality music education.

CATCHING UP WITH PASTWINNERS

SENA

SAMRO has been investing in music education since 1962, ensuring that the country has a constant feed of vibrant young music graduates whose talent has been allowed to unfurl and blossom with the help of to a SAMRO bursary or grant.

Over almost five decades, SAMRO’s Endowment for the National Arts (SENA) has awarded thousands of music education bursaries and scores of prized overseas scholarships to deserving young composers, singers, keyboard players and instrumentalists. This ongoing financial commitment to music development seeks to ensure that the country’s rich musical legacy not only endures, but is constantly renewed and refreshed with dynamic new ideas.SAMRO’s core business is looking after and rewarding the creative artists

BOOSTING TOMORROW’S MUSICIANS, TODAY

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of today for their hard work, but the organisation considers it equally important to nurture the musical satellites of tomorrow, making them feel that they have a home in the broader Southern African music fraternity.This year’s SAMRO Overseas Scholarships Competition for composers took place at the University of Johannesburg Arts Centre on 28 August 2010, and saw four young composers competing for two R170 000 scholarships to further their music studies overseas. The finalists in the two categories were: Keith Moss and Angela Mullins (Western Art Music) and James Bassingthwaighte and Kingsley Alexander Buitendag (Jazz/Popular Music). Their compositions were played during the final round of the competition, with guest performances by the Wits Choir and SAMRO member Paul Hanmer, together with saxophonist McCoy Mrubata. The winners were...This year’s contest attracted an unprecedented 22 entries – rare for the composing category – and suggests a renaissance in the writing of music in South Africa, says André le Roux, General Manager of SENA. “South Africa needs new, original music works and we are pleased that

we can add to our country’s treasure trove of classical and contemporary compositions by encouraging excellence in composition. After all, it is this creativity that is the lifeblood of SAMRO’s revenue,” said Le Roux.SAMRO also recently awarded 113 music study bursaries – collectively worth more than a million rand – to music students at South African universities. These bursaries and scholarships, coupled with SAMRO’s recently launched collaboration on a part-time course for current and aspiring music publishers at Wits University, underscore SAMRO’s commitment to remaining a champion of music education – and indicate that things are looking good for the continued growth and evolution of the country’s music scene.

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