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6030212-P05a18Cisac ANG bag 22/03/06 17:45 Page 8

C LOSE-U P AFR ICA

© PHOTOS: SAMRO
SAMRO

COLLABORATIVE
EFFORTS DRIVE
AFRICA’S REVIVAL
“The days of being a spectator are over,” says
Robert Hooijer, CEO of SAMRO. His sentiment
illustrates how SAMRO’s proactive approach
in not only redressing South Africa’s historical
imbalances, but also championing the
renaissance of the African continent. Since 2003,
SAMRO helped launch the South African Music
Industry Co-operation Initiative (SAMICI), a
broad-based programme involving key
stakeholders working to maximise the role of its
cultural sectors in economic development, job
creation, poverty alleviation and socio-cultural
development within South Africa. Transformation YVONNE CHAKA CHAKA, “Princess PROF JAMES STEPHEN MZILIKAZI
also begins at home, as SAMRO’s recent of Africa”, has won several domestic KHUMALO is a renowned composer
and international awards, including and Emeritus Professor of African
reorganisation shows. Last year, SAMRO began the South African Music Industry Languages of the University at
streamlining its internal structure to better serve Award as the Best Female Singer. the Witwatersrand, Johannesburg
and Honorary Professional Research
the needs of its members and the broader music Fellow in the School of Music.
business. This year, SAMRO announced that
Nicholas Motsatse, the current Marketing Director
and joint Deputy Chief Executive Officer in 2005,
would take over as CEO from the esteemed Robert
Hooijer in July 1, 2006. As a key player in CISAC’s
Partnership for Progress (P4P) programme for
Africa, SAMRO has used its staff and resources for
the training and development of staff from other
African societies. Already African collections have
risen 23% since P4P’s inception. < THE NEW
FREEDOM TO
EXPERIENCE
AND EXPRESS
© SAMRO

Nicholas
Motsatse
Robert
Hooijer ONESELF
>>David Uwemedimo, CISAC’s Director
of African Affairs said: “We shall all miss
Robert Hooijer at future African
AS A SOUTH
Committee meetings, not just for his
dynamism but also for his wisdom and
dedication to the creative community.
AFRICAN
We look forward to developing an equally
productive and constructive relationship
COENIE DE VILLIERS is a writer and
CREATOR AND
PERFORMER IS
with Nicholas Motsatse.”
well-known singer of light music songs
in Afrikaans, and has over a dozen

WONDERFUL.”
commercial recordings to his credit.
From the outset, his songs have
addressed South African social and
political issues.
Coenie de Villiers
8 II MARCH 2006 II CISAC NEWS
6030212-P05a18Cisac ANG bag 22/03/06 17:45 Page 9

INTERVIEW

A ROUND-TABLE DISCUSSION
WITH SOUTH AFRICAN CREATORS
In the decade following ground- KEY DATES only through the uniting of our differ- singer performing in Afrikaans no
breaking democratic reforms, South ent peoples but also in the diversity of longer raises eyebrows on the stage.
1948
Africa has gone to great lengths to en- our music. The new freedom to ex- South African creators and perform-
Strict New
hance its identity and reclaim its perience and express oneself as a ers nowadays think “out the box” as
Apartheid Laws
culture. CISAC News’ round-table dis- South African creator and performer is they seek to market their talents both
Enacted
cussion highlights South Africa’s trans- wonderful. locally and internationally.
formation as seen through the eyes of 1994
three of its best-known creators. 1st democratic CN: What changes have you observed CN: What is the future of South African
elections. in South African music since the end of arts and culture?
CISAC News: How would you describe Nelson Mandela apartheid? CDV: I am relatively bullish about the
South Africa’s cultural heritage? elected Yvonne Chaka Chaka: In 1985, I was future of South African music generally
Mzilikazi Khumalo: South Africa’s cul- President very fortunate to have an accomplished and especially about opportunities for
tural heritage is quite complex. We are a 2003 white Afrikaans songwriter who wrote songwriters. The government has be-
country of different peoples but one na- South African a number of successful songs for me. gun to put an enabling framework in
tion. Our cultural heritages have lega- Music Industry Unique for its time, the beat captured place to support the wider South
cies which have their roots in Africa, Eu- Co-operation the interest of both black and white African music community, including
rope and Asia. Even within the African Initiative communities. Unfortunately in those support for music export.
context cultural heritage can vary be- created days one had to perform in front of seg-
tween different language groups. This is regated audiences and the market was CN: How have South Africa’s socio-
seen by the different styles and tones fragmented by the policies of the offi- cultural policies contributed to the
of musical works created and performed cialdom of the day. renaissance of the African continent?
on the South African landscape. The MK: Within the African art and choral YCC: From Uganda and Kenya on the
music of some communities is very music community there is significant east coast of our continent to Nigeria
western in its presentation and inter- “cross cultural” interplay. The repertoire and West Africa our music is played over
pretation whereas in the African idiom of choral music created in SA varies the airwaves.
there are quite a few similarities with the from music in the African tradition to CDV: A new generation of South African
rest of Africa’s music. If one bears in more modern styles including influ- writers and performers are making their
mind that about 75% of all Africans have ences from other cultures. Our national mark on world music with artists such
a common root in their language, then anthem which, at the direction of our as Joseph Shabalala with Ladysmith
it will be understood that much of the former State President Mandela, was Black Mambazo, Johnny Clegg,
music from South Africa bears similari- created out of a number of works from Jonathan Butler and Shaun Morgan of
ties with that of other countries of our different communities that make up Seether to name just a few.
continent. our nation. MK: The political settlement in South
Coenie De Villiers: When I think of CDV: Today the fusion of the different Africa is to some extent held out as an
words to describe South Africa’s cultural musics of our peoples has resulted in example for other regions of the world
heritage the words “immensely rich” the creation of the most astonishing where there is conflict. We believe that
come to mind. The tragedy of South sounds and musical works. The phe- just as our socio-political circumstances
Africa’s history was that apartheid sep- nomenon of white South Africans per- have had a significant impact so also
arated not only our peoples, but also forming traditionally black African mu- our music has something special to
our music. So our healing comes not sic in Zulu or a renowned black African offer the world. <

CISAC NEWS II MARCH 2006 II 9

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