| 50th special edition

www.samro.org.za | 50th Special Edition

Welcome to our 50th Anniversary Special Edition of SAMRO Notes

In December 1961, SAMRO held its first-ever board meeting and AGM and a few weeks later, in January 1962, it opened for business...

At the time, SAMRO’s objective was to protect the intellectual property of composers and authors. It was also to make sure that composers’ and authors’ talents received proper credit both locally and internationally when the music they created was used. That commitment, first articulated and put into action in the early 1960s, has not changed – and in the five decades since, SAMRO has become the primary representative of music performing rights in Southern Africa.

From the very beginning, there was an additional commitment by SAMRO’s founder, Dr Gideon Roos, Sr, and those who came after him. That was to ensure that SAMRO took the right business decisions to be financially robust and sustainable, and fully able to meet its commitments to members, no matter the state of the external economic environment.

It’s on these foundations that we have been able to take SAMRO in new directions – directions that add value to our members and benefit the South African music industry as a whole.

Through our recently established Performers’ Organisation of South Africa Trust (POSA), we are continuing to place pressure on the Department of Trade and Industry to amend the copyright legislation to allow more than R100 million in unpaid Needletime royalties to be paid out to the country’s recording artists and record companies.

As we continue to celebrate our anniversary in 2012, we will complete the roll-out of the SAMRO 24/7 service by launching our online self-service,offering, which will enable you to stay abreast of developments on your account, along with other exciting activations. Steps like these will play an important role in the next era of SAMRO, during which we will

continue our quest to become one of the world’s most forward-thinking music rights organisations, committed to managing our members’

intellectual property like the golden asset that it is.

Read on to find out more about all of this, and also to gain some heartwarming insights into the

recollections and experiences of those people who make SAMRO what it is: the songwriters and performers of this amazing country of ours.

Here’s to another 50 years of excellence!

Nick MotsatseChief Executive Officer

From the desk of the CEO

Who would have thought that what started out as a small family-run organisation would still have such great relevance and impact

on the lives of over 12 000 members 50 years later?

Yet here we are, celebrating five decades of unwavering service to you, our valued members.

On this special occasion we would like to pause and note that much has changed in our musical landscape over the past 50

years, and this 50th Anniversary Special Edition of SAMRO Notes mirrors that.

In this edition, we aim to share with you SAMRO’s rich history, reflect on the current state of our industry and focus our gaze

on the future.

We wish to extend our gratitude to all our members for your continued trust in our competence to administer one of your most

valuable assets – your copyright.

SAMRO Notes // 01

SAMRO CEO: Mr. Nick MotsatsePhoto: Siphiwe Mhlambi

SAMRO Talk

02 Letter from the Editor

04 Talk to SAMRO

SAMRO News

05 News of note

06 Continuity, resilience, innovation,

vision: SAMRO @ 50

08 Looking back to inform the future

10 A SAMRO timeline of events

12 SAMRO kicks off 50th anniversary

festivities

14 Staff go retro for SAMRO 50th

16 SAMRO documentary traces

50 memorable years

17 SAMRO book set to be a real page-turner

17 SAMRO to host media training workshop

18 SAMRO goes beyond the music

with MES charity concert

20 DALRO welcomes Nothando Migogo

SAMRO People

22 Paying tribute to a music maestro

24 Arts and Culture Trust Lifetime

Achievement Awards

26 Memories from SAMRO’s early years

28 Celebrating SAMRO gems and icons

Licensing

21 Jacaranda keeps serving up the hits

– with a local flavour

30 Mobile DJs party on down

– with a SAMRO licence

32 Understanding digital and online licensing

Department Focus

41 Send us your SAMRO memories

Membership Focus

36 SAMRO soapbox

38 New horizons beckon for MOSHITO

52 In memoriam

International Focus

40 Universal, Sony to buy EMI assets

42 The world is our stage

44 Kimmy Skota – Our own dazzling diamond

SAMRO Endowment

35 Young instrumentalists show

their musical mettle

45 SAMRO hits the high notes

for music education

46 Sensational singers come out tops

48 50 years of SAMRO Overseas

Scholarships

50 A ‘trailblazing’ bursary in honour

of Ralph Trewhela

I joined SAMRO at a pivotal time in its history. For an organisation to celebrate 50 years of existence, which SAMRO is doing in 2012, clearly means that, besides being well established, it is also respected and accomplished.

SAMRO Notes // 0302 // SAMRO Notes

from the EditorLetter

Kgomotso Mosenogi Photo by Siphiwe Mhlambi

Credits: GM Marketing and Business Development: Sipho Dlamini Editor: Kgomotso Mosenogi Publication Management: JT Communication Solutions Managing Editor: Vanessa Perumal Sub-editor/Writer: Christina Kennedy Contributors: Diane Coetzer | Rami Nhlapo | Nadia Neophytou | Sandile Ngidi | Sibusiso Mkwanazi | Ayob Vania With special thanks to: SENA staff Naseema Yusuf | Noelene Kotzé | Tshifhiwa Phophi for their assistance with the sourcing of archive material | Joey Carlse | Keitumetse Setshedi | Pfanani Lishivha | Alan Gustafson Design and layout: Mortimer Harvey Stock images: Shutterstock

As SAMRO enters a new and exciting phase in its evolution, one is reminded that it’s an organisation that has stood the test of time – through apartheid, recessions, court cases and so much more – and is today more resilient and astute than ever.

A ‘grande dame’ at 50 years old, it personifies true South African chutzpah and stands head and shoulders above other music industry organisations in this country when it comes to transformation, corporate governance and sustainable revenue growth.

SAMRO has been built on a foundation of excellent financial and risk management, making it a collective administration society that is respected by its international peers and recognised as a leader in the space of music royalty administration the world over. It’s a truly South African organisation that celebrates the sanctity of music’s creative process by ensuring our creators have the luxury of convenience: we keep on doing what we do while giving them the space to create.

What an awesome job we have… what a responsibility; what an honour! We take our roles in music creators’ lives very seriously and fully understand the responsibility of this.

I realised early on that I am joining a very dynamic and committed team who take pride in what they do. Their ongoing pursuit of perfection will serve as my benchmark as I lead the team in moving forward. I embark on this new and exciting journey with the full knowledge of the hard work that goes into making SAMRO Notes an insightful, exciting and informative publication.

As we continue to celebrate our golden jubilee year as an organisation, the SAMRO Notes team

will strive to bring you a magazine that is of the best quality, with valuable content that will

hopefully inspire our readers to continue being mindful of their music as a business as well as a creative calling.

We toast you, our members, for making us what we are as we celebrate half a century of success and look towards new horizons. What a ride it has been thus far, but

anyone who knows SAMRO will know that there are even more exciting times

ahead…

Kgomotso MosenogiMarketing and Communications Manager

Contents

Paying tribute to a music maestro

pg 22-23

SAMRO at 50: A timeline of events

pg 10-11

Celebrating SAMRO gems and icons

pg 28-29

Hitting the high notes for music education

pg 45

Features

SAMRO welcomes your letters. Tell us your thoughts or ask us your questions via SAMRO’s Facebook page, or email [email protected] with ‘Talk to SAMRO’ as the subject line. A selection of the best letters will be published in SAMRO Notes, and the winning letter in each edition will be rewarded with a R1 000 shopping voucher, courtesy of SAMRO. So get writing!

NEWS


Talk to SAMROof note

Cultural diversity under the microscopeDuring the two-day Diversity Convention held at SAMRO Place in October, artists, cultural workers, government and civil society gathered to discuss how best to protect and promote cultural expression in South Africa.

This international indaba was presented by the Department of Arts and Culture and the Arterial Network. Delegates from South Africa, Africa and around the world came together to chart a way forward to realise the goals set out in the UNESCO Convention on the Protection and Promotion of the Diversity of Cultural Expression.

Opening the conference, SAMRO Endowment General Manager, André le Roux – who is also Chairman of the South African Coalition for Cultural Diversity (SACCD) – paid tribute to the late Dr Kader Asmal and dedicated the event to his memory.

A formidable intellectual and cultural activist, Dr Asmal played a pivotal role in negotiating the UNESCO Convention, which is aimed at both protecting and growing local cultural and creative industries, with an emphasis on the developing world.

As a key player in the local cultural landscape, SAMRO provided facilities and logistical support for the Diversity Conference.

Mbongeni Ngema signs up for Needletime RightsCelebrated Tony Award-nominated writer, composer, lyricist and theatre director, Mbongeni Ngema, has signed up with SAMRO, via the Performers’ Organisation of South Africa Trust (POSA), to administer his Needletime Rights.

Said Pfanani Lishivha, POSA’s Executive General Manager: “Having the internationally renowned Mbongeni Ngema on SAMRO’s books for Needletime Rights is a coup for SAMRO.

“Ngema is a well-known recording artist who also runs the KZN Music House, which records and markets tens of recording artists in KwaZulu-Natal. Having him on our books has given us direct access to these artists, and all of them have been signed.”

Ngema joins the many other prominent local recording artists who have signed up with POSA to administer their Needletime Rights.

Boost your knowledge with music publishing course Do you want to know more about the ins and outs of the music industry? Then SAMRO and WITS Plus’s 14-week course, titled Business Principles of Songwriting and Music Publishing, is just for you. SAMRO makes up to five bursaries available to its members, or to people employed by SAMRO publisher members. These seats will be awarded subject to evaluation and approval by WITS.

This NQF Level 5 course is mainly aimed at established or emerging independent music publishers, but other music industry players – such as songwriters who wish to publish their works independently – will also find the course useful.

The evening classes run from 5.30pm to 7.30pm on Wednesdays at the University of the Witwatersrand in Johannesburg.

FOR MORE INFORMATION on the 2012 intake for the second

semester, starting on 18 July 2012, phone (011) 717-9500/5,

or visit www.witsplus.wits.ac.za or www.samro.org.za for updates.

GOING DIGITAL WITH SAMRO’S HELP

I’m doing a digital music distribution website which will be up and running soon, and I’m targeting the whole world, not only SA. So I will need SAMRO to be part of it. – Warren Beats

Thank you for your extremely topical question. You are the winner of our first Letter of the Month prize and we will be in touch with you shortly – congratulations! Please refer to our article on digital licensing in this edition of SAMRO Notes, or email [email protected] with any other queries. – Editor

WHEN DO I START EARNING ROYALTIES?

How much time does it take for royalties to be paid to you if you are a new SAMRO member? – Rubha Rider Khabozinto

Registering your work does not automatically qualify you for royalties. Your works have to receive commercial use to become eligible for membership, and they have to be notified with SAMRO. Use the following rule of thumb as a guideline: if your track is played today, payments will take up to 18 months to be effected – provided that you are a member of SAMRO and you have notified the track. The performance of your work has to fall within the relevant distribution period as well. For a detailed distribution list, please refer to www.samro.org.za – Editor

HOW LONG DOES IT TAKE TO BECOME A SAMRO MEMBER?

I recently filled in the notification of works and membership application forms, and mailed them with a CD and copy of my ID. How long does it take to get a response from SAMRO? – Antioch Crew

Once we have received your application and notification of the works you have written, an acknowledgement will be sent to you. This does not mean that you have been elected to membership. To become a member, your music has to be performed or used commercially – either broadcast, performed live or performed as background recorded music at a licensed and reporting venue. – Editor

DO I NEED TO COPYRIGHT MY WORK?

What must I do to copyright my work? – Gift Thapelo Mbhalati

Nothing! According to South African law, the copyright in your work belongs to you by reason of the fact that you created the work. In this country, recognition of your copyright is automatic – as long as the work is original and has been reduced to writing or some other material form. However, there is no copyright protection while something remains an idea in your head. Copyright starts only when that idea has been reproduced in some tangible, perceptible form such as a manuscript or a disc.

If you notify your work with SAMRO as soon as it is created, we would, in the event of any dispute, certify the date of such notification, and that could place the onus on the other party to prove that they wrote the work before this date. After you notify your work, SAMRO will furnish you with a letter of acknowledgement to prove your claim to authorship of the work in question. – Editor

SAMRO HELPS STUDENT OUT OF A PICKLE

I would kindly like to extend my warmest gratitude to SAMRO for awarding my younger sister, Regomodicoe Molosioa, a bursary to continue with her Music Diploma at the University of the Free State. She received an email and immediately called me and told me the great news. This was our last option; otherwise she was going to have to drop out as we didn’t have funds to pay for the university fees. Thank you very, very much to SAMRO – much appreciated. – Hilda000, via HelloPeter

BRAVO FOR PROMPT SERVICE!

Wow! Thank you a million times; what speedy feedback. I got attended to, and I am happy and overwhelmed with the service. Mistakes do happen and to err is human. Thanks! Will call again when I need info or related services. Best! – Baleseng ‘Basi’ Tau, via Facebook

Mbongeni Ngema. Photo courtesy of the artistOur winning letter SAMRO South Africa @SAMROMusic

[email protected]


When it came to positioning SAMRO as it enters its half-century in 2012, CEO Nick Motsatse and his team had two scenarios in mind. Either the organisation’s 50th anniversary could mark the end of an era and the start of something new – or it could be a way of celebrating the continuity and the resilience of South Africa’s oldest copyright management society.

In the end, the SAMRO team couldn’t settle on just one scenario.

“So our 50th is not simply about starting something that is totally new, because we have a very solid and very resilient foundation,” Motsatse says. “It is also about revamping SAMRO in a way that positions us as a visionary in global collective rights management.”

Among the projects that will serve to reinforce SAMRO’s legacy is the book that has been commissioned for publication in 2012, alongside a documentary that will capture the essence of SAMRO’s past, present and future (see sidebar). As valuable as these projects are, positioning SAMRO into the next decade and beyond has required a great deal of effort and planning.

“SAMRO has been perceived in different ways over the years,” Motsatse says with the kind of frankness that has come to mark his tenure as CEO.

“Some people have respected SAMRO for its sturdiness as an organisation – but, at the same time, it’s also been seen as very slow to embrace technology and somewhat bureaucratic.” Against this background, SAMRO is set to relaunch itself in a very serious way – particularly on the technological side, coming up with a slate of “exciting projects” over the next year.

Given that SAMRO’s first board meeting and AGM was in December 1961, it’s that very month in 2011 that marked the organisation’s 50th anniversary. But because the organisation only started operating in January 1962, the celebrations and launches of new initiatives will continue through 2012.

Motsatse intends SAMRO to not just keep on a par with its global counterparts in music rights collection – but to significantly alter the landscape through bold projects, based both in technology and in human resources.

“We want to position SAMRO as not just a 21st-century organisation, but a leading 21st-century organisation,” Motsatse says. The bottom line for everything SAMRO is planning is to make the experience of its members “much more meaningful.” “From now on we will be strongly repositioning ourselves as a copyright asset management company,”Motsatse says.

“What that means is: in the same way as banks or professionals manage other people’s assets with care, with a lot of consideration and with the appropriate technologies, we will do that with the intellectual property of our members. We want to have the mindset of asset managers and we are beginning to benchmark ourselves around those.”

Currently, SAMRO’s management team is examining the asset management landscape across all areas of business to assess what works and what doesn’t – and how the best of it can be brought into the area of copyright.

As to whether SAMRO currently has enough human resources and skill to draw on to implement its bold new vision, Motsatse is clear, “That’s part of the upskilling and ramping up of the organisation that SAMRO has been engaged in over the past few years and will continue vigorously attending to in 2012,” he says.

Systems and people (including training SAMRO’s current staff and defining the typical employee of the future) will be key in taking SAMRO into its next 50 years and ensuring it is ready for the tipping point of 2014, when South Africa’s broadband capacity is predicted to be on a par with thelikes of the UK.

South Africa’s oldest rights administration society is celebrating its golden jubilee with a stellar line-up of events

Continuity,RESILIENCE, innovation, VISION: SAMRO @ 50


“The importance of financial stability for an organisation like ours can’t be underestimated. The one thing that I am always grateful for is the foresight shown by the founders to make this organisation very strong financially. It gives us the comfort that we can weather the storms; that we can plan; that we can move into the new era that is coming.”

Motsatse acknowledges that, often, SAMRO’s strong financial position is controversial, but points to the fact that banks, for example, and other entities managing assets are required to have a certain level of reserves before they are granted a licence to operate. “So you cannot be given the responsibility to manage assets unless you are able to give the financial guarantees that, if anything goes wrong with those assets, you are able to meet the financial obligations related to those assets.”

These are strong words from the SAMRO CEO. But, since he took over the reins in 2006, Motsatse has realised that robust financial underpinning

Looking <back< to inform the >future>

In pursuing a strong vision to take SAMRO into the future, CEO Nick Motsatse is very mindful of its past – those five decades since 1961 when Dr Gideon Roos started the music rights organisation. In particular, Motsatse points to the strong financial position that was built by the early management teams at SAMRO.

ON A PERSONAL NOTE

Alongside the reaching of a rare milestone for any organisation, there’s a personal reason for Motsatse’s passion for SAMRO’s ongoing 50th anniversary celebrations.

“When I joined SAMRO in 2002, like most people in a new job, I wasn’t sure how long I would be in this organisation. After all, until then, I’d not spent more than five years in a particular job and had moved on when I felt the need for new challenges.

“But, after a few years, I realised that the amazing aspect of working

in an organisation like SAMRO – one that is part of the music industry – is how dynamic the macroenvironment is. The changes that have taken place in the global, African and South African music industry over the past few years have been immense and there is always something new for me and the team here to get to grips with.”

So, while SAMRO celebrates its golden jubilee, Motsatse will, in 2012, mark a decade as part of an organisation that has grown significantly – in its areas of operations and its way of doing business – while he has been there.

enables an organisation like SAMRO to survive in difficult times, solve problems, ensure business continuity and then plan for the future – and it is now an unassailable part of how SAMRO operates.

Motsatse also pays tribute to the “visionary leadership” that SAMRO has enjoyed over the past five decades – especially by its founders. He relates: “I was reading through some of the memoirs of Dr Gideon Roos and saw that, back in the ’60s, he was already talking about a central database that has all the musical works that people can tap into and play from – a kind of streaming idea – which is indicative of the futuristic thinking that drove SAMRO forward.

“You see it in the big decisions that were made – like in 1973, when the old SAMRO House was bought. In every generation of the CEOs of SAMRO, they have had the vision to create the capacity that has carried us through to now.”

Intriguingly, while SAMRO’s management transformation may have only come with the appointment of Motsatse, the organisation itself has always been based on a system of administration around copyrights that was free from race.

“There’s always been a perception that SAMRO was a discriminatory organisation and I am sure that, in the old buildings, there was a different toilet for whites and blacks that reflected the apartheid era,” Motsatse says.

“But, back in 1962, Strike Vilikazi wrote to PRS, of which he was a member, expressing skepticism at joining SAMRO, given the current politics of South Africa. He then wrote to the Rooses and they assured him that they operated in an equitable way.

“That is why, in SAMRO’s database, we have never had entries that identify people’s race. In addition, it’s important to remember that Gideon Roos leftthe SABC and started SAMRO because he refused to join the Broederbond. I wasn’t there at the time, but all the songwriters who were active at the time that I have spoken to have warm things to say about SAMRO’s founders.”

He adds: “My predecessor, Rob Hooijer, kick-started the transformation process at SAMRO. He moved it from a family business culture to a corporate business that anyone could pick up and run. Rob’s passion and energy set the pace for those of us who came after him.”

As for the future, SAMRO will continue its active lobbying for the kind of legislation that will provide maximum support for copyrights, especially in the changing global environment. “The legal framework needs to support the long-term interests of rights holders, and we have put a lot of effort into this aspect of what we do,” says Motsatse.

Nick Motsatse has led SAMRO into the 21st century, ready to tackle all the new local and global challenges that music rights administration faces. Photo courtesy of the SAMRO Archives

Rob Hooijer took over the reins of SAMRO in the 1990s to usher in a new era.Photo courtesy of the SAMRO Archives

The Roos family was responsible for founding SAMRO and steering its growth for several decades. From left: Gideon Roos, Jr, Dr Gideon Roos, Sr and Paul Roos. Photo courtesy of the SAMRO Archives


The newly-formed South African Music Rights Organisation holds its first board meeting under the chairmanship of Dr Gideon Roos, Senior, a former director-general of the SABC

December 1961

SAMRO begins operations with 53 members taken over from PRS – 40 South African composers and 13 music publishers – as a society administering the Performing Rights in musical works of songwriters, composers, lyricists and music publishers

January 1962

SAMRO is accepted as a new member of the International Confederation of Societies of Authors and Composers (CISAC) at its 22nd congress in Rome

June 1962

Graham Newcater becomes the first SAMRO Overseas Scholarship winner

1962

Strike Vilakazi, composer of ‘Meadowlands’, becomes the first black member of SAMRO (member no. 64)

1962 Renowned Afrikaans author and poet Dr NP van Wyk Louw becomes an associate member of SAMRO

December 1964

The new Copyright Act (No. 63 of 1965) is promulgated in the Government Gazette

June1965

The Dramatic, Artistic and Literary Rights Organisation (DALRO) is established as a wholly-owned subsidiary of SAMRO

1967 Gratia Artis (the forerunner to SENA) is formed, with Alec Delmont, Anton de Waal, Gideon Roos and Mr OPG Taylor as directors

1968

SAMRO buys SAMRO House in Juta Street, Braamfontein

1973

2010SAMRO exceeds the 10 000-member milestone

1981Princess Magogo Buthelezi is elected an associate member of SAMRO

1996The SAMRO Endowment for the National Arts (SENA) is formed

1997Rob Hooijer is elected CEO of SAMRO

2005The new SAMRO logo is launched

2006Nicholas Motsatse is announced as SAMRO’s new CEO

2009SAMRO forms the Performers’ Organisation of South Africa (POSA) Trust to administer members’ Needletime Rights

2011SAMRO lauches its 50th birthday celebrations

1974SAMRO changes its name from the South African Music Rights Organisation to the Southern African Music Rights Organisation, to reflect membership in surrounding territories

1978The amended Copyright Act (No. 98 of 1978) comes into effect

2007SAMRO starts administering Mechanical Rights (reproduction rights)for members

2008SAMRO is accredited by CIPRO to administer Needletime Rights on behalf of its members who are recording artists/performers

SAMRO at 50 a timeline of eventsPhotos courtesy of SAMRO


Toasting half a century as Africa’s foremost rights administration society in style, the event featured performances by the evergreen Abigail Kubeka, as well as by Theo Kgosinkwe, formerly of Mafikizolo.

The launch, on 11 August 2011, marked the start of a series of golden jubilee celebrations that are continuing into 2012, cementing SAMRO’s status as a major player in the local music industry and on the global stage.

SAMRO launched its 50th anniversary celebrations with a glamorous and star-studded event at

SAMRO Place, attended by a number of celebrities and various media representatives.

SAMRO

anniversary festivitieskicks off50th

Photos courtesy of SAMRO

Photos by Alice Walsh Photos by Alice Walsh

Photos courtesy of SAMRO


SAMRO’sstaff go retro for

50th

Photos by Alice Walsh


In August 2011, SAMRO staff boarded a time machine and took a trip back to the swinging 1960’s, in celebration of SAMRO’s remarkable 50 years of existence. A good time was had by all - with some weird and wacky costumes being hauled out of mothballs!

It is time for SAMRO to have its story told – warts and all – from its humble beginnings to the large organisation it has become today, protecting the intellectual property rights of over 12 000 members.

The unique perspective of this documentary is that it will not portray the SAMRO story in isolation but will contextualise it, and add colour and dimension to it, by taking a holistic look at the history of music in South Africa over the past 50 years. To spearhead such a mammoth task, SAMRO acquired the services of one of the most reputable production houses in South Africa, Rapid Blue, to tell this story from an independent and unbiased point of view. They, in turn, recruited one of South Africa’s best storytellers, award-winning director, Sara Blecher, to be the creative voice behind the project.

For the past year the Rapid Blue team has been hard at work conducting independent research, interviews and filming to ensure that the finished product is something that the music industry as a whole can be proud of.

No stones have been left unturned in the telling of this story; they have travelled to all the parts of South Africa, documenting the highs and lows of the music industry, and the result of their labours promises to be a compelling, must-see documentary.

The SAMRO documentary will soon be aired by the national broadcaster and mini-episodes will be available for viewing on the SAMRO website – so watch the media for details and don’t miss it!

In the year that SAMRO celebrates 50 years of building value for the creators and users of music, it will mark this milestone by taking stock through a series of legacy projects, including a documentary on the organisation’s history and evolution.


Having conducted extensive research over the space of several months, speaking to various industry players and musicians, Ngidi has undertaken to deliver an honest, warts-and-all account of SAMRO’s evolution over the past 50 years.

“It’s a complex story to tell, firstly because the area of copyright management and administration is in itself a complex one – where even members are sometimes under certain misconceptions, such as seeing SAMRO as a union or as an organisation that should ensure their works are promoted and played,” he says.

“But also, inasmuch as the book’s narrative follows SAMRO’s development as an organisation, I have also been collecting accounts from some of the people who have contributed to creating musical works over that period. I have tried to explore where SAMRO has done things relatively well over the years, and also areas where it can improve.”

It’s sure to be a page-turner –

watch this spacefor more details!

SAMRO book set to be a real page-turnerIn 2012, respected author, journalist and poet, Sandile Ngidi, will be launching what promises to be a gripping coffee-table book about SAMRO’s first 50 years – and the people, personalities, music and events that have shaped it.

Sandile Ngidi, a freelance writer

and literary agent, has written a book about SAMRO and

its history. Photo courtesy of Hugh

Mdlalose/Talk To Me Literary Agency

To ensure that SAMRO continues to compete as a bona fide player on the global music stage at the age of 50, the organisation has come up with several progressive projects to reposition itself as a true 21st-century organisation.

Key to this repositioning is strengthening existing partnerships and developing new associations, especially with those stakeholders who showcase the organisation’s core business to the public. One such association is SAMRO’s relationship with the media.

SAMRO will be inviting arts and business journalists to participate in an informative introductory workshop to explain the ins and outs of the often complex world of music rights administration.

SAMRO’s Marketing and Communications Manager, Kgomotso Mosenogi, explains:

“It is SAMRO’s hope that this crash course in intellectual property rights will greatly enhance the media’s understanding of the inner workings of the music industry in general, and of rights administration in particular.”

Facilitated by Vanessa Perumal, Managing Director of JT Communication Solutions, SAMRO’s media and publicity agency, this enlightening conference will see industry experts delivering hands-on, interactive talks and demonstrations. There will also be an opportunity for journalists to interact with key SAMRO staff on an informal basis.

A key focus of the conference will be the global volatility within the copyright landscape at the moment. Topics to be discussed include the Intellectual Property Bill and the Indigenous Knowledge Systems Bill, and how the legislative framework impacts on the music industry.

The different types of rights administered by SAMRO will be explained, as will SAMRO’s business model.

This will be followed by a breakdown of music rights in the digital age, a session that will seek to answer the important question: “Who owns what?” International music rights and governance will also come under the spotlight.

The initial conference will be followed by shorter, more focused sessions at SAMRO Place, exploring specific issues relating to asset rights management, and seeking to foster a deeper understanding of SAMRO’s operations.

SAMRO to host media training workshop

Due to the complex nature of copyright and asset rights management, and the evolving legislative framework within which it operates, it is more critical than ever that all stakeholders understand SAMRO’s business. This has prompted SAMRO to introduce a Rights Management Training Programme for Media, which will unfold during the course of the year.

documentary traces 50 MEMORABLE

YEARS

SAMRO

Photos courtesy of the SAMRO Archive

SAMRO was celebrating its 50th anniversary and MES, which stands for Mould, Empower, Serve, was toasting 25 years of service to the community – two very special milestones that lent themselves perfectly to a celebration of note.

To reward the loyal donors that fund and support MES – a registered social development organisation that assists, empowers and uplifts Joburg’s homeless and impoverished communities – SAMRO decided to sponsor a concert with a difference: Hillbrow Unplugged.

Guests met at SAMRO Place before being transported in buses to the Hillbrow Theatre, where they were treated to performances by Tidal Waves, Louise Carver and the African Jazz

Pioneers. The hosts for the evening, Coenie de Villiers, Lizz Meiring and Sans Moonsamy, added even more star power to the already stellar entertainment line-up.

MES holds a concert every year for its benefactors, and this year SAMRO leaped at the opportunity to come on board as a sponsor. The relationship between the two organisations was born in 2010, after SAMRO CEO, Nicholas Motsatse, noticed the excellent work the charity was undertaking to revive the inner city. SAMRO management then decided to roll up their sleeves and get involved, taking time out to go and help with the painting and refurbishing of MES’s auditorium at its Hillbrow premises.

The relationship has since blossomed, culminating in the Hillbrow charity concert that brought music and compassion together under one roof. Motsatse expressed his conviction that the strong partnership between SAMRO and MES would bear even more fruit in years to come.


On Friday, 28 October 2011, SAMRO put the ‘art’ back in ‘heart’ and went beyond the music with the Hillbrow Unplugged concert in aid of the inner-city charity, MES.

with MES charity concert

SAMRO GOES BEYOND

THE MUSIC


The cream of South Africa’s entertainment talent ensured that the concert was a night to remember.

DALRO welcomes Nothando Migogo

Nothando Migogo, who was recently appointed as Managing Director of the Dramatic, Artistic and Literary Organisation (DALRO), has promised to lead the organisation into the digital age by ensuring it remains relevant and by strengthening its goal to look after the interests of authors, artists and publishers. Having successfully completed a 12-year cycle during which the focus was to ensure that photocopying and other forms of reproduction of copyright-protected works at South African higher education institutions was under licensed control, DALRO is at the beginning of a new cycle and Migogo has been tasked with leading the organisation into the future. Prior to her appointment, she was General Manager: Corporate and Legal Affairs at DALRO, a subsidiary of SAMRO. Migogo said DALRO’s strategic plans for the future are informed by the digital revolution. “As the ways in which creators disseminate information – and, similarly, the ways in which users consume information – change rapidly in the ever-shrinking digital global village, my vision is to ensure that DALRO remains relevant,”she said. “The principles that characterise DALRO as a brand, business partner and organisation remain and will continue to be nurtured. The space in which we exist, however, is inevitably changing, and we need to ensure that we continue to provide relevant solutions to both our rights holders and licensees,” she added. Migogo holds LLB and LLM degrees in law from the University of the Witwatersrand and worked as a tax consultant for Deloitte before making her way into publishing and, eventually, copyright administration. The go-getter mom of two said her goal has always been to work in a field she enjoys and that allows her to use her talents and be the best that she can be. “My ultimate aspiration is to teach my children the importance of self-confidence, humility and happiness,” she said. And, if staying ahead of the game means becoming a student again, Migogo said she would not think twice, “I’ll definitely go back to school to continue my studies in the not-so-distant future,” she added. Bearing in mind this thirst for knowledge, it is not surprising to hear that she attributes much of her success to having always been surrounded by many teachers and mentors. “Some have helped me progress professionally; others have taught me the importance of having a thick skin. My father remains one of my closest business-space consultants. Similarly, a handful of senior colleagues in my previous (and current) roles continue to shape the professional I am,”she said.


Newly appointed MD outlines her bold vision for a progressive, cyber-savvy organisation

Nothando MigogoPhoto by Siphiwe Mhlambi

Centurion-based regional radio station Jacaranda 94.2 has been a SAMRO licensee for the past 25 years, and its commitment to supporting local music mirrors SAMRO’s own values.

With its recent listenership growth of between 18% and 29% in the four provinces in which it is licensed to operate – Mpumalanga, Limpopo, North West and Gauteng – the station now boasts a total audience of over 2,2 million listeners.

Over the past few years, Jacaranda has recorded a significant increase in Nguni first-language listeners. It is easy to see why it is among the country’s leading independent commercialradio stations.

Jacaranda 94.2 has a strong commitment to local music and constantly goes against the prevailing sentiment that international music is ‘better’. Marketing Manager, Jenny Griesel, adds: “In fact,many of the local artists whose music we play outscore their international counterparts in creativity, quality and on the popularity scale.”

The station demonstrates its commitment to the local music industry by consciously placing attention on, and driving support for, our talented South African artists. It takes its backing of the arts beyond the paying of the mandatory licence fee, making a concerted effort to promote local music and musicians.

The radio station holds firm to the belief that the composers, songwriters and performers who work so hard to make the music played on the airwaves should be compensated appropriately and earn a decent living from the use of their original works.

For Jacaranda 94.2 – and other organisations that play or broadcast music for commercial gain – to be licensed with SAMRO is definitely “the right thing to do”, says Griesel.

Visit www.jacarandafm.com for more information.

keeps serving up the hitsJacaranda

– with a local flavour

Jenny Griessel Photo courtesy of Jacaranda 94.2

Professor James Stephen Mzilikazi Khumalo was born on 20 June 1932 on the Salvation Army farm, KwaNgwelu (known as Mountain View in English), in the Vryheid district of what is today KwaZulu-Natal, South Africa. As a schoolchild he began his lifelong involvement with choral music and developed a deep love for African traditional music.

He composed his first work, Ma Ngificwa Ukufa, while a teacher at the Wallmansthal Secondary School in Pretoria. It was a lyrical song with Zulu words from a poem written by BW Vilakazi. It was premièred in 1959 and was subsequently prescribed for the teachers’ section of the first National Choral Festival of ATASA in Bloemfontein.

He studied music theory, harmony, counterpoint, form and composition under Charles Norburn of Pretoria and continued composing, setting many poems by BW Vilakazi to music. He also studied singing under Prof Khabi Mngoma of the University of Zululand.

In 1970, when Prof Khumalo moved to Soweto, he founded the Black Orpheus Folk Singers. They were concerned at the time that traditional folk music had too low a profile and started to incorporatesome folk music into the second part of their concert programmes, to create an awareness of old traditional music among their audiences.

Almost all the members of the group were conductors of their own choirs. They introduced traditional music to their choirs and slowly, but surely, created a new appreciation for this genre of music, given further impetus by the Black Consciousness Movement that became very prominent at that time.

In 1981, when Prof Khumalo composed the song, Izibongo Zika Shaka, he threw all caution to the wind and produced a song completely in traditional style. This song was later incorporated in his epic work, uShaka kaSenzangakhona.

He wrote the song, Intonga Yo-Sindiso, for the enthronement in 1986 of Archbishop Desmond Tutu. Prof Khumalo often related, with great mirth, the story of how Tutu taught him to play cricket when they were young men!

Prof Khumalo is an Emeritus Professor of African Languages of the University of the Witwatersrand and Honorary Professional Research Fellow in the School of Music of Wits.

He was appointed chairman of the committee constituted by the Minister of Arts, Culture, Science and Technology to produce, at the prompting of former President Nelson Mandela, the official version of the South African National Anthem.

Mandela presented Prof Khumalo with the Order of the Star of South Africa for his outstanding achievements. He has also been awarded honorary doctorates from three universities.

Prof Khumalo served on the SAMRO board since 10 September 1993. In 2009, after serving for 16 years as vice-chairman, he handed the reins over to Advocate Steve Kekana, but continued to serve on the Board as a member. Says Annette Emdon, Chairman of the Board, “I am grateful for the support he has given me on many occasions. He always acted the elder statesman in his position as vice-chairman.”

Prof Khumalo is married to Rose, also a teacher, who has often remarked how she always has to compete with his other love – ‘music’! They have four adult children, who have all become doctors or teachers. During the 2010 Overseas Scholarships competition, SENA presented Prof Khumalo with an award for his lifelong contributions towards music. In her speech, Emdon referred to “...the measure of this couple, whose children have done their parents proud, to become contributory members of society”.

She thanked Prof Khumalo for his guidance throughout the years and for the privilege of holding his hand.


As Professor Mzilikazi Khumalo steps down from the SAMRO Board after several years of illustrious service, SAMRO Chairman, Annette Emdon and Music Archivist, Noelene Kotzé look back on his rich and varied career

PAYING TRIBUTE to a music maestro

Professor Mzilikazi KhumaloPhotos by James Stephen


Moments of triumph and memories to treasure… Professor Mzilizaki Khumalo is truly a South African music colossus.


‘Onse Mimi’ honoured for musical legacy

Soprano, Mimi Coertse, has always had music in her soul. Even before she made her debut in January 1955, as the first flower girl in Wagner’s Parsifal at the Teatro San Carlo in Naples, she was singing her heart out as a pupil at Hoër Meisieskool Helpmekaar in Johannesburg.

This passion for music saw her travel to Vienna in 1954 to study at the Academy for Arts and Science, before taking on the role that would

launch her career and reputation as one of the country’s most beloved singers in her chosen discipline.

Her music legacy – spanning several decades – speaks for itself, and she has earned widespread respect for being among the elite few who can impeccably perform some of the most difficult operatic works to audiences the world over.

In 1956, the dazzling young singer made her debut at the Vienna State Opera as the Queen of the Night in Mozart’s Die Zauberflöte, and was to remain with this distinguished opera company until 1978.

The Austrian government awarded ‘Onse Mimi’ its most prestigious title, that of Kammersängerin (or ‘distinguished chamber singer’), in 1966, as well as its highest artistic accolade, the Oesterreichische Ehrenkreuz für Wissenschaft und Kunst, 30 years later.

Among her numerous other accomplishments locally and abroad, on stage as well as on radio and television, in 1985 she was presented with the Decoration for Meritorious Service in recognition of her contribution to the arts in South Africa.

Now she has been recognised for a lifetime of excellence in her chosen craft by the Arts & Culture Trust (ACT) – and she couldn’t be more pleased. “It was a hell of a surprise!”Coertse admits.

“After all these years, this award means more

to me now because it comes at such a poignant point in my life. It’s a great honour and I feel very privileged and humbled to receive it.”

Having never been awarded a bursary to study music, she has always recognised the importance of investing in young talent. It is for this reason that she founded the Mimi Coertse Bursary and co-founded the Black Tie Ensemble, with which she is still very actively involved.

“My singing teacher used to always tell me that a singer is like a chair with four legs, the four legs being ambition, perseverance, intelligence and talent. Without one of those legs the chair cannot stand firm,” she maintains.

As the sponsor for the ACT Lifetime Achievement Award for Music, SAMRO wishes to salute Mimi Coertse for her illustrious contribution to music in South Africa.

Toast to a true-blue theatre guruTrue arts practitioners don’t do what they do for the applause; they do it out of a sincere love for the work, a passion for the industry and its people and a reverence for the process of creation. Such a person is Mannie Manim, the winner of the Arts & Culture Trust’s 2011 Lifetime Achievement Award for Theatre.

Manim has certainly earned the honorific of ‘Mr Theatre’, having been involved in the industry for some 50 years with no sign of slowing down.

His passion for the stage has led him to become intimately acquainted with various aspects of the theatre over the years, as producer, lighting designer and theatre manager, building up a formidable store of knowledge in the process. As ACT trustee, Gérard Robinson pointed out at the awards presentation in November, Manim has always been driven by a genuine and ongoing commitment to improving skills, standards and quality in South African theatre.

Manim’s love affair with theatre began when he was a teenager and took up a holiday job as an usher at the Brooke Theatre. He quickly worked his way into backstage work and, at the tender age of 17, was promoted to theatre manager.

It was at the Brooke Theatre that he saw Athol Fugard’s, play No-Good Friday, an event that, he says, made him see theatre in an all-new light and open his mind to the many opportunities that existed.

After immersing himself in the world of lighting design, Manim quickly became a respected figure in the theatre community. Along with the likes of Barney Simon, he formed part of the pioneering team that opened the Market Theatre in the ’70s, challenging the apartheid system and allowing people of all races to see the often controversial works that were performed on its stages.

He holds the distinction of having played integral roles in the development and management of most theatrical institutions in the country – including the then Johannesburg Civic Theatre, the Baxter Theatre, the WITS Theatre, the State Theatre and the National Arts Festival (NAF).

He was closely involved with the NAF for 25 years, of which five were as chairperson. Today, Manim operates as a freelance lighting designer and producer, and the ACT award adds to a long list of accolades that bears testament to his abiding dedication, skill and commitment to theatre in South Africa.

As the sponsor of the ACT Lifetime Achievement Award for Theatre, the Dramatic, Artistic and Literary Rights Organisation (DALRO) would like to congratulate Manim for his exceptional contribution to South African theatre – and long may it continue.

A theatre colossus… Mannie Manim, winner of the ACT Lifetime Achievement Award for Theatre.

Lifetime Achievement Awards

&ArtsCulture Trust

ACT trustee, Trish Downing congratulates Mimi Coertse on her Lifetime Achievement Award. All photos: John Hogg

Lifetime Achievement Award recipient, Mimi Coertse (centre) with ACT trustee, Trish Downing and SAMRO CEO Nick Motsatse.

50thSpecial Edition



MEMORIESearly years...

SAMRO’sfrom

Life is barking good at SAMRO... Doris Gatsby with Eve Botha’s beloved Maltese poodle, Penny.

SAMRO staff members are treated to dinner in the Palace of Versailles at the CISAC congress in Paris, in September 1976.

Dr Gideon Roos, Sr, pictured with Marshall Rees, George Neighbour and Ernest Tomlinson at the meeting of the International Council of Authors and Composers of Music in Vienna in 1976.

SAMRO staff snapped at various year-end functions in the 1970s.

SAMRO staff members and other international delegates pictured during the congress of INTERGRU in Athens in May 1978.

Michael Moerane, SAMRO member and the first black Southern African to obtain a BMus degree. from UNISA in 1941.

Dr Gideon Roos, Sr, with Pekka Kallis, Managing Director of TEOSTO, in Helsinki in May 1975.

Beloved, long-serving SAMRO employee, Uncle Robbie Mampane, pictured with one of his co-workers.

Gideon Roos, Jr, and Helmut Guttenberg (BMI) at the meeting of the CISAC technical committee in Copenhagen in 1977.

Gideon Roos (Sr and Jr) applaud at the CISAC conference in April 1972.

SAMRO presents a car to COSOMA, the Copyright Society of Malawi. Pictured are Mr SDW Chavala, Rob Hooijer, Dr Gideon Roos, Sr and Paul Roos.


Originally from Eshowe in KwaZulu-Natal, Ngcobo (63) was only 18 when he first recorded at the South African Broadcasting Corporation’s studios in Durban with, among others, Ladysmith Black Mambazo.

Since there was no radio in his home at the time, he and his wellwishers had to congregate at a neighbour’s house in his Nembe village to celebrate his debut on Radio Zulu. Ngcobo’s single, Yiyo Lentombi Eyangigabisela Ngamabele (Zulu for ‘Here’s the young woman girl who enticed me with her breasts’) was a hit on Radio Zulu for close to two decades. It was followed by another hit single, Dynah.

So popular was this maskanda guitarist that, at one stage, he was in serious competition with the legendary Phuzushukela (John Bhengu), who is often called the ‘father’ of maskanda music.

A walking archive of South African music, David Ngcobo has worked with legendary producers and composers whose names feature prominently in local music history. These include Strike Vilakazi, Zacks and West Nkosi, Almon Memela, Phuzushukela, Noise Khanyile and the Soul Brothers.

‘Zacks Nkosi told me about SAMRO, and introduced me to Michael Xaba, who helped prepare my music sheets so I could notify SAMRO to protect my works and collect my royalties,’ says Ngcobo.

To mark his 45 years as a professional musician, David Ngcobo – who last recorded in 1980 – is talking to the likes of jazz and maskanda guitarist, Bheki Khoza, to release a new album soon. Undoubtedly, with his imminent resurgence, local traditional music is poised to rediscover one of its most talented child prodigies.

In 1987, she featured in Jimmy Cliff’s band as part of his African and European tours. “The first recording I did was Full Experience, which was done at Lee Perry’s studio in Jamaica,” Msimang recalls. She had met Perry while she was studying at the Jamaica School of Arts.

Although undoubtedly a world citizen at heart, having lived in many parts of the world including Bulawayo, Kinshasa, New York, Paris, Belgium and Amsterdam, Msimang could not escape the bug of South African music. Her indebtedness to her predecessors, such as Miriam Makeba and Dorothy Masuku, is evident in her debut album, Itshe, released in 2000 after she had returned to South Africa to live.

On the other hand, her 2010 self-produced album, African Child, strongly captures Msimang’s desire to connect with Africans, no matter where they are. She released the album under her independent label, IQWA Productions and Publishing. Recorded locally and mixed in London, the album evokes the spirit of Bob Marley, South Africa and many parts of the African continent. Its blend of Afrikaans, Igbo, Swahili, Sesotho and Zulu lyrics make African Child a bold tribute to Africa’s children.

Bob Marley, Jimmy Cliff and our glowing Aura

Aura Msimang (64) is a rare and largely unknown musical gem in South Africa, the country of her birth.

Having left South Africa at the age of 10 to go into exile with her parents in the mid-’50s, Msimang was part of the most innovative period of reggae in Jamaica in the mid-’70s.

As a young backup singer, she performed with iconic reggae stars, including Lee ‘Scratch’ Perry, Jimmy Cliff and Bob Marley. After Marley’s death in 1981, Msimang – together with Marley’s mother, Cedella Booker, and The Wailers – performed a concert in his honour the same year.

The history of the African Jazz Pioneers (AJP) stretches back to the 1950s, when jazz was the fashion and big bands were the name of the game.

The late Ntemi Edmund Piliso, leader and founding member of the AJP, nourished the group from their humble roots to their current international acclaim.

The AJP is made up of a group of extraordinarily talented musicians, with a handful of composers and arrangers among them who are responsible for the band’s material.

Makhosonke Mrubata is one of the instrumentalists and composers in the band and he sought Performing and Mechanical Rights protection from SAMRO some 15 years ago, when he joined the AJP and became involved with the arranging, composing and recording of material for the group.

As a family man whose musical ability is his principal means of making a living, Mrubata says

that “aside from performance fees and album sales, royalties and licence fees are one of our main revenue streams, and this has encouraged me to continue developing my skills as a composer”.

He feels that it is only fair for musiciansto benefit from the playing and broadcastof their music in public spaces. This isbecause concert venues, clubs, restaurants and even retail stores benefit financially from the use of music to either attract clientele or create a pleasant atmosphere, and should therefore pay a licence fee to SAMRO that will be distributed to composers and writers in the form of royalties.

His message to SAMRO’s licensees is to “carry on paying licence fees, as this ensures that musicians are able to earn a living from our originalcreative works and continue composing music and writing songs, enabling us to support our families.”

We can rest assured that the AJP, as an organic and evolving outfit, will continue providing us with

emorable musical moments for many more years to come.

The AJP was one of the acts that royally entertained guests at the recent SAMRO/MES charity concert. See pages 18 and 19 for a selection of photos and highlights from this memorable occasion.

SAMRO GEMSCelebrating

and icons Aura Msimang. Photo by Dare O

David NgcoboPhoto courtesy

of the artist

Our PIONEERS and LEGENDS of JAZZ

Maskanda legend to record again

Last year, maskanda composer and performer, David Ngcobo, celebrated 45 years as a professional musician, and could soon be back in action after a recording absence of more than three decades.

AJP Saxophonist. Photo: Alice Walsh


‘They know that a SAMRO member is not a fly-by-night business and is accountable to a higher authority’

“In the case of mobile DJ licensees, SAMRO requires the operator to annually submit information on where he has played and what songs were used during that particular year. This enables us to pay the correct royalties to the correct members or societies,” he explains.

“The penalty for infringement [playing copyrighted music in public without a licence] is much higher than the annual fee charged by SAMRO to operate legally,” Gustafson points out.

Marius de Bruin is one such mobile DJ who saw it fit to become a SAMRO licensee in 1987. How has he benefited from being a SAMRO licensee? “You mean besides knowing that it was illegal if I wasn’t?” he asks, jokingly. “I have benefited in terms of being part of an organisation that has my best interests at heart. I remember being updated via a newsletter that kept me abreast of developments that I could take advantage of in the local music industry.

“Over the years, I have been asked by venue owners and those who organise leisure events if I was licensed with SAMRO. They know that a SAMRO-licensed DJ is not a fly-by-night business and is accountable to a higher authority. Unfortunately, this was after venueshad already been taken advantage of by nonregistered DJs.”

Times have changed since De Bruin used to play using analogue turntables and when neon-coloured jukeboxes were the order of the day. DJs now have what are called CDJs and laptops that play only digital music that can be downloaded even while at a party.

Unfortunately there are legal and illegal websites, but how is SAMRO involved in this aspect of the music industry? “SAMRO has a division that handles the licensing of these sites where music is available to the DJs. This is due to the fact that these downloads are not covered by the public

performance licence that was mentioned earlier,” Gustafson clarifies.

And as SAMRO celebrates 50 years of protecting and serving the rights of musicians, has it noticed an increase in the number of DJs that are registering with it? Says Gustafson: “We observed that, just before the credit crunch and during that time period, it was a difficult time for the mobile disco sector. It was only the well-known DJs that were booked, which resulted in a number of mobile DJs closing shop.

“However, over the last year and a half, there has once again been growth, although not great, within this sector of the music market. We have been on a drive to get DJs from all walks of life licensed. There is a current drive to make sure that all radio DJs that perform gigs independently of the radio stations are licensed to operate,” he explains.

party on down –

with a SAMRO licence

The Wedding Crashers (pictured above and far right) know that it adds to their professional credibility to have a SAMRO licence.

DJing is often seen as a glamorous profession, but full-time and part-time DJs also need to ensure that they run responsible and legally compliant businesses. Mobile DJs are just like any other business or venue that plays music for commercial purposes, says SAMRO’s Regional Sales Manager, Alan Gustafson.

“Because they make money from the use of music, they – as a business – need to be registered with SAMRO as licensees,” he adds. “The DJ must

license his business, which also includes him as the operator. The tracks he plays are then covered by the business licence.”

And if these DJ licensees do not only play music but also create it – in the case of DJs Kent, Black Coffee and Cleo, for instance – then they may apply to become SAMRO members as well. So their creator “hat” as a composer, lyricist or arranger would be separate to their licensee “hat” as a business that is playing music for commercial gain.

“By registering his or her original tracks, it means that wherever those tracks are publicly played (not only by the originator, but other DJs too) and reported, royalties can by paid to the owner of that musical work,”explains Gustafson.

In theory, then, a mobile DJ who pays a licence fee to SAMRO as a business can potentially earn royalties from SAMRO as a member who creates his or her own music that is played publicly by others (and himself).

Photos courtesy of the Wedding Crashers Mobile DJ Services - www.weddingcrashers.co.za

With record labels feeling the pinch due to CD sales being on the decline, many in the music industry are looking for alternative methods to generate sales. This means that more and more South Africans are making use of the internet to get their music out there – or to access music.

Innovative musicians and music lovers are increasingly using the online space to express their vision by creating internet radio stations, video channels and other similar products. However, these cyber-platforms can also pose a challenge when it comes to monitoring usage and collecting royalties.

The core objective of SAMRO’s Broadcasting and Online Transmissions Department is to focus on where music is played on various platforms, including television (public, private or community), radio (public, private, community and online) and the so-called new media services.

In relation to digital usage, the team continuously researches and finds all available spaces where music is being used, finding out, for example, whether the website/service concerned is hostedin Southern Africa.

It is their job to make sure that all websites that are using music are properly licensed with SAMRO. The digital music usage space is relatively new in South Africa and it is rather difficult to monitor music usage in a virtual environment. Therefore, the licensing department is continuously challenged by a lack of sophisticated technology available that would

assist in researching and uncovering all digital music users in South Africa, and making sure that they are licensed.

It is for this reason that, as part of the revamp of its IT systems, SAMRO will soon be incorporating advanced online and broadcast monitoring systems.


SAMRO Notes spoke to Keitumetse Setshedi, Broadcasting and Online Transmissions Manager at SAMRO, to obtain some insights into digital music licensing and provide useful information for those readers who may be interested in starting a website or mobile service that uses music digitally.

What information does SAMRO require in order to issue a digital music licence? Firstly, we ascertain that the website/service is hosted from a Southern African server, as copyright is, by its nature, generally governed by jurisdiction.

We also ensure that the music that a service provider is using is within SAMRO’s repertoire. In other words, we ensure that the music you wish to use digitally is registered/notified with SAMRO or, alternatively, that such music is registered with collecting societies with which SAMRO has entered into reciprocal agreements to administer that country’s music within our jurisdiction. Such music falls under SAMRO’s repertoire.

Music that does not fall under SAMRO’s repertoire is music that has not yet been notified/registered or music administered by collecting societies with which SAMRO has no agreements, or music that is out of copyright.

What are the benefits of becoming a SAMRO licensee?

Firstly, it is a contravention of copyright law to operate a website or, for that matter, to provide a public service using music in any other digital manner without getting the requisite SAMRO licence if your website/service is hosted in Southern Africa.

The digital music space is becoming a more affordable and targeted medium to distribute one’s music. It affords potential users/service providers the ability to reach more people or consumers, more frequently, without the limitations of using more traditional methods, such as television and radio.

What are some of the challenges facing digital music users in South Africa?

South Africa is still a growing market in terms of digital music usage. There is still a large portion of the potential market that has no access to the internet, or has limited access tothe internet. For the relatively small percentage

of the market that does have access to theinternet, they are also faced with the challenge of optimised bandwidth in South Africa, which is still relatively slow.

It’s of the utmost importance for digital music users to do a great deal of research before they start such services. We find, for example, that a considerable number of internet radio stations are going under because they don’t understand the South African market and the limitations that they are faced with in terms of resources and access.

Who are potential digital licensees?

• If you provide a music service to the public over a mobile phone, e.g. ringtones, ringback tones or any other digital devices;

• If you offer streaming services;• If you offer podcasting services; or• If you offer webcasting services.

Licensing/Sales/Mechanical Rights

Address your queries and questions to:

SAMRO 24/7Telephone: 0800 247 247 (Toll-free from Telkom landlines and for 8•ta subscribers) International: +27 11 712 8039SMS: 45141 @ R1 per SMS Fax: 086 688 3616 Email: [email protected] Facebook: /SAMROSouthAfricaTwitter: @SAMROMusic

UNDERSTANDINGdigital and online

LICENSINGKeitumetse Setshedi. Photo by Andrew Howes

SAMRO Notes // 35

Seventy young primary school candidates aged 13 and younger participated in this prestigious national music competition, which was sponsored by SAMRO for the first time.

The event attracted a record 134 entries from around the country in the categories of piano, strings, woodwind and brass instruments, as well as other instruments (percussion, recorder, classical guitar and harp), with a special category for development groups.

After three preliminary rounds, the best performers went through to the final round at the Hugo Lamprechts Auditorium in Parow, Cape Town, on Friday, 30 September. The coveted first prize – with a gold medal and prize money of R10 000 – went to talented young pianist, Kensuke Kawajiri, under the tutelage of Karien Labuschagne.

The full list of winners is as follows:

• Most promising development candidate (R1 000 prize): Sakie Ndala • Most promising candidate (10 years and under) (R1 500 prize): Iman Bulbulia • Development prizes – Strings (R500 each): Thami Mrwarwaza (C) and Sakie Ndala• Best performance prizes (R1 500 each): - Baroque (1st round): Kensuke Kawajiri - Classical (2nd round): Kensuke Kawajiri - Romantic (3nd round): Althea Steynberg • Category prizes (plus UNISA prize) (R2 000 each): - Other instruments: Althea Steynberg (Recorder) - Winds: Danielle Rossouw (Clarinet) - Strings: Frances Whitehead (Violin) - Piano: Kensuke Kawajiri• Most successful development project (R5 000): Mangaung String Project

• Best performance (South African composition): Eriko Kawajiri • Third prize (bronze medal plus R4 000): Danielle Rossouw• Second prize (silver medal plus R6 500): Frances Whitehead• First prize (gold medal plus R10 000): Kensuke Kawajiri

André le Roux, General Manager: SAMRO Endowment, expressed the hope that some of the candidates would one day be awarded SAMRO Bursaries or even one of its coveted Overseas Scholarships, and perhaps ultimately become SAMRO members as professional musicians.

The SAMRO Hubert van der Spuy National Music Competition is organised by the Tygerberg branch of the South African Society of Music Teachers, with prizes worth more than R50 000 for the winners and their teachers.

A shimmering display of young instrumentalists’ talent was the hallmark of the 2011 SAMRO Hubert van der Spuy National Music Competition, which took place in Cape Town from 26 to 30 September.show their musical mettle

Younginstrumentalists

SAMRO Hubert van der Spuy National Music Competition Finalists. Photo courtesy of SAMRO

Helping You Strike the Right Chord Celebrating SAMRO’s 50th Anniversary has shown us just how special the role is that the organisation plays in the lives of musicians. SAMRO has consistently proven that it believes in its members and seeks to deliver the best service possible.

So, it is only fitting that SAMRO now unveil a Facebook application, adding to the various ways members can conveniently engage with our recently launched SAMRO 24/7 Communication Hub.

This convenient tool allows SAMRO to stay in tune with its member’s needs – day and night. Whether it is a query, a complaint or you just dropped by to give a compliment, you can now do it all on SAMRO’s Facebook page. And with experienced SAMRO consultants that reply within 48 hours, members are assured of prompt support and assistance.

Feel free to drop us a note and keep your music affairs pitch perfect.

THE SAMRO 24/7 NOW

ONCOMMUNICATION HUB

Jennifer Ferguson – Singer-songwriter, cultural activistThe world, in the past, has done notoriously little to honour, nurture and protect artists, especially composers/musicians: those souls who are born with the daunting inner imperative to be creators. They begin with nothing and create something; in fact, doing an imitation of the Great Creator, only on a much smaller scale!

I think of the many gifted souls in the past who died in abject poverty, their work only appreciated long after their passing. South Africa has had many such stories. The world and society at large has come a long way in recognising that the creation of music is a gift given, not only to beautify our world, but to nourish the very sanity and humanity of our being.

The composer that is not industry-driven, for example, is in a very different context today. SAMRO, along with the other international copyright organisations, has helped create

mechanisms for the protection of that most vulnerable and ephemeral aspect of the act of creation: what we today call intellectual property.

I applaud SAMRO for its work in empowering composers/songwriters in manifesting forms that allow for the recognition of value in the creative process. I encourage the organisation to keep abreast of the current tides of downloading and so on that are radically redefining the flow of intellectual property, and to create concerted forums for dialogue with composers from all spheres of music.

I also appeal that SAMRO engages with institutions that are still vehemently prejudiced against composers/musicians. I speak of the insurance industry, for example, that classifies musicians/composers as ‘high-risk’ due to the freelance nature of our work. I encourage SAMRO to extend the funeral policies, which are so necessary for our people, into the field of broader insurance/medical aid. This would be an entirely appropriate response to the terrible vulnerabilties members face, especially in South Africa.

SAMRO, in its service to the community that feeds it, needs always to put the human first, before the figures, and pursue utmost transparency and generosity in the way it manages the fruits of so many amazing creative harvests. Blessings to all who are working towards an equitable and mutually benevolent vision for those tasked with the creation of music for the world!

Ray Phiri – Frontman of legendary group, StimelaAs Stimela prepares to celebrate 30 years and SAMRO 50 years, I would like to propose a new strategy for SAMRO in terms of outreach programmes outlining the importance of intellectual property.

SAMRO is in a strong position to teach musicians and help us understand finances and investments. Composers don’t know how to place their compositions in the marketplace for singers who are looking for songs. There should

be a pool of songs and composers for them to access, and I’d like to encourage SAMRO to form something along those lines.

Young musicians also need to find out how to get into the value chain, and, perhaps, something along the lines of a school of excellence should be formed. They should be made aware of the major pitfalls, and shouldn’t do anything with their works before getting advice – otherwise they may get burnt or exploited.

As a collecting society, SAMRO is certainly becoming more innovative, for example, using the vernacular in its brochures – especially for those members who have never been in a classroom.

SAMRO would like to congratulate Ray Phiri on the Lifetime Achievement Award he received at the 18th South African Music Awards.


SAMRO

Members have their say...soapbox

Photo courtesy of the artist Photo courtesy of the artist

Photo courtesy of the artist

Victor Masondo – bass player extraordinaire and former Standard Bank Young ArtistSAMRO has always been more than a stable collecting society, but also a source of great information and support. Here’s to many more years!

Lesedi Ntsane – Jazz trumpeter and SAMRO grant recipientThrough the years of change in South Africa, music has been an integral part of the vibration of the nation’s heart and spirit – from joy to sadness, music is highly present. In the past the artist has suffered a great deal of exploitation and, in many cases, has passed on without having anything to show for his or her life of great service, yet in those times of need SAMRO has created a home for the artist when no one else was willing to do so.

In facing the future and ensuring artistic excellence, SAMRO shows a strong presence, investing in the youth of South Africa in various parts of our nation.

Personally, SAMRO sealed the foundations to my career with my first scholarship that paved the way to my future, and, to this day, I can proudly say that SAMRO is my home.

Photo courtesy of the artistPhoto courtesy of the artist

The incoming executive is made up of the following members:

King Phatudi-Mphahlele (Chairman), representing the National Organisation for Reproduction Rights in Music (NORM);

Tholsi Pillay (Vice-chair, representing the Music Managers’ Forum of South Africa (MMFSA);

Sipho Sithole (Treasurer), representing the Southern African Music Rights Organisation (SAMRO);

Musa Manzini (Exco member), representing the Composers’ Association of South Africa (CASA); and

Lee Walters (General Manager)Although eligible, outgoing chair André le Roux, as well as directors Peter Tladi and Sbu Tshabalala, did not make themselves available for reappointment.

MOSHITO focuses on broadening the business intelligence of music industry professionals in South Africa and on the continent, strengthening business networks for participants and informing delegates, traders and the public about the multifaceted and dynamic nature of the global music industry.

After three years at the helm, Le Roux, who is the General Manager of the SAMRO Endowment for the National Arts (SENA), reflected on the positives and strategic opportunities that make MOSHITO ‘an exciting prospect’.

He cited opportunities for synergy with French, German and sub-Saharan cultural initiatives, and said promises by the Department of Arts and Culture to include MOSHITO in its Mzansi Golden Economy strategy and increase its funding allocation would be a major boost to the organisation.

Another plus was the inclusion of MOSHITO in the provincial government’s planning, in addition to interest shown by Caribbean countries, as well as Colombia, to develop South/South partnerships and networks.

“Lastly, there are strong continental networks built through programmes and networks such as Equation Musique on the continent and including the Caribbean, and the Indian Ocean Music Network (IOMN), which gives a continental reach to this, the premier African music market,” he said.

He also highlighted the importance of the music industry having a ‘shared vision and shared journey’ within a constantly evolving culturaland economic landscape.

Le Roux reflected that, while the state plays a role in supporting the music industry, ‘at an individual level, the journey of musicians through the industry should start with artists seeing themselves as business entities and surrounding themselves with expertise’. They must continually upskill themselves, he believes – hence the workshops at MOSHITO where they can learn about the “digital ecosystem”.

“Thanks for the many good memories and I wish the new chairman, the new exco and the incoming board strength and courage as they steer MOSHITO over the terrain or waters that lie ahead,” he added.

New horizonsbeckon forMOSHITO


The MOSHITO Music Conference and Exhibition, of which SAMRO is a founding member, has a new executive after the organisation’s annual general meeting in November 2011.

King Phatudi-Mphahlele, MOSHITO’s new ChairmanPhoto supplied

Photos by Donovan Marais

Send us your SAMRO memories

In 2012, SAMRO celebrates its 50th anniversary and we have loads of

exciting commemorative activities lined up for this year.

To help us mark this major milestone – which would not have been possible without the valuable support and loyalty of YOU, our members – we’d like you to send us your anecdotes and memories of SAMRO and its people.

Tell us what SAMRO has meant to you over the years, and feel free to share a little nostalgia with us.

What special venues and gigs do you remember, what golden moments are forever burned in your memory, and what do you recall about the people, the musicians, the personalities? Let’s go on a trip down musical memory lane!

The best comments will be published in forthcoming editions of SAMRO Notes.

Visit the SAMRO page on Facebook to have your say, or email [email protected] with your contribution (Subject line: SAMRO 50th Anniversary Comment).

MEET RAMI NHLAPO, SAMRO’s new Online Media Specialist in

the Media and Communications Department. She’ll be interacting

with SAMRO members and the public via the SAMRO website,

Facebook and other media.


The proposed break-up of the 114-year-old EMI Group will involve the sale of its record labels – which feature stars such as Coldplay, Pink Floyd, Norah Jones, Kanye West and Katy Perry – to Universal.

The publishing division will be sold to Sony, which will now own a catalogue containing 1,4 million songs, including the Beatles catalogue, New York, New York, the James Bond theme, We Are the Champions , Wild Thing and Have Yourself a Merry Little Christmas.

The recorded music business is primarily concerned with selling records and breaking new artists, whereas music publishing collects royalties from music that is licensed for use in advertising, games, television shows and other commercial purposes.

Citigroup seized control of EMI in February 2011 following a loan default, and in November 2011 sold off the music group’s assets to repay debt owed to the bank. EMI was the second major music label to change hands in 2011. In May 2011, Access Industries, headed by tycoon, Len Blavatnik, acquired Warner Music for about $3,3bn, including $1,99bn in debt.

At the time of going to print, the deal was still pending the approval of US and European antitrust regulators, who have to assess if the proposed sale would restrict competition in the industry and/or be harmful to consumers.

Universal, Sony to buyEMI assets

Universal Music Group and Sony have reached an agreement to buy EMI’s music business for a combined $ 4.1 billion, the Los Angeles Times and Bloomberg reported.

SAMRO South Africa @SAMROMusic

[email protected]

Photo by Andrew Howes

is our stage’


The Big Apple has seen an invasion of South African music of late, as homegrown sounds catch on more and more in international markets.

Over the past 18 months, the likes of Vusi Mahlasela, The Parlotones, Ladysmith Black Mambazo, Goldfish and Johnny Clegg have been wowing audiences across New York, as part of their respective US tours. It’s an impressive state of affairs, and one that more South African musicians are being encouraged to follow.

“It’s very important that local musicians continue to make inroads overseas,” said SAMRO CEO, Nick Motsatse, during a recent business trip to New York.

“Firstly, it makes economic sense. South Africa has a population of 50 million people, and in America, there are 300 million. There is a huge market out there, just from a statistical point of view. The disposable income in South Africa is also much lower than in many foreign countries, whose citizens have more money to spend.”

Aside from the numbers, Motsatse says there is another major reason for SAMRO members to

explore touring abroad: “The attitude and culture towards music is more developed, and there are more people going out to concerts.”

Indeed, this is evident in the full houses at the shows – in fact, Johnny Clegg had to add a second night to his New York gig because the first one sold out so quickly.

More importantly, Motsatse adds, when musicians tour overseas they promote South Africa as a whole. “There is no better form of ambassadorship than local artists being out in the world, promoting what South Africa does in the cultural sphere. It’s in the interest of the musicians and their country to aspire to go out to the rest of the world. But above all,” says Motsatse, “I believe South Africa has got so much to offer the world that we can’t be selfish about it.”

Government and the private sector should support our musicians

But he, is not oblivious to the barriers that prevent many musicians from launching their own world tours: “Indeed, it is difficult – but once you are able to crack it, it can be so rewarding.”

He believes that there should be government support behind musicians. “Not only government support, but from the private sector too.

It would be ideal to have funding mechanisms from institutions like the Industrial Development Corporation and SA Tourism to support these initiatives.”

Motsatse says that the lack of support shouldn’t be used as an excuse for musicians to do nothing, though. “The world is ready,” he maintains. “Wherever I have seen South Africans touring abroad, they have been successful and well-received. People rave about their talent. So, there is the market, the readiness and the appetite for South African music; we just need the hard work to take it there.” Dedication, with a focused approach, is the key,

Motsatse believes. “There has to be a concerted national strategy around the export of South African music. The irony is that music is one of the most ready items for export. You don’t need to do anything more to it. We have quality musicians, bands and recording facilities. South African talent stands on its own with the best in the world.”

He also encourages musicians to look beyond just the UK and the US. “Yes, these countries are priorities, but also look at Western Europe, because of our shared heritage and closelinks, and South East Asia, because it’s a developing giant.”

Motsatse believes there is an opportunity for brands and musicians to work together: The export of SA music is a perfect vehicle for private/public partnerships.

Japan, too, he notes, has a huge appetite for South African music. “There are artists that have gone back year after year because of the demand,” he says, “people like Victor Masondo and Corlea Botha, a young singer from Boksburg.” Australia and the rest of the Asia-Pacific region as a whole also make his list.

“Really, the world is our stage,” says Motsatse.

‘The world

Blk Jks. Cover photo courtesy of secretlycanadian.com

Goldfish, the dance floor kings, are making a splash overseas as well as at home. Photo courtesy of Sony Music

Lira. Photo courtesy of Lira’s “Soul in mind” cd

The Parlotones are not just taking over South Africa – they’re building a huge following abroad. Photo couresy of Ren Frouws of The Famous Frouws

Freshlyground. Photo courtesy of wrasserecords.com

Vusi Mahlasela. Cover photo courtesy of Vusi’s “Guiding Star” cd

The SAMRO Endowment for the National Arts (SENA) has injected more than R 50 million into music education in South Africa since 1962.

SENA’s annual Overseas Scholarships Competition is the country’s largest music education award, with two recipients each receiving R160 000 (plus R10 000 for travel expenses) to study towards a postgraduate music qualification atan international tertiary institution.

Every year, the competition rotates among keyboard players, instrumentalists, composers and singers. Since it started in 1962,62 scholarships have been awarded, contributing significantly to the development of the country’s future music luminaries.

In 2011, it was the turn of singers to dazzle with their vocal prowess, and the gala evening on 3 September 2011 at the Linder Auditorium sawfour candidates (in the Jazz/Popular Music and Western Art Music genres) competing for the two coveted scholarships (see pages 46 and 47 for the full story and photos).

In addition, every year since 1981 SENA has awarded a number of bursaries to deserving students who are studying music full-time at one of South Africa’s universities. In 2011, 117 SAMRO Music Study Bursaries, collectively worth more than R 1 million, were handed out to studentsshowing merit and promise in various music fields.

“Since we started the bursary scheme 30 years ago, SAMRO has awarded 1 404 bursaries to help students with their tuition fees”, says André le Roux, General Manager: SAMRO Endowment for the National Arts.

“These bursaries, scholarships and other sponsorships collectively add up to more than R 50 million that SAMRO has invested in music education since its inception. Supporting educated artists who understand their craft certainly makes the long-term value of these grants to the country and the industry tangible.”

Many students who receive SAMRO bursaries go on to do well in SAMRO’s annual Overseas Scholarships Competition. Both music awards have already yielded several music luminaries and Standard Bank Young Artist winners, and serve as an important stepping stone to a sustainable professional music career.

SAMRO further supports these musicians throughout their career trajectory by commissioning original compositions – a total of 371 to date – which add to the country’s music canon while providing much-needed work and income for composers.

“We have built valuable relationships with students, musicians and educational institutions over the decades, and now have a large family of SAMRO alumni,” says Le Roux.

SAMRO Notes // 45

Skota recently scored a coup by being selected to tour internationally with international superstar, André Rieu, and the Capetonian soprano looks set to once again be dazzling audiences with the ‘king of waltz’ during his 2012 South African tour.

Here’s what Rieu has to say about Skota on his website, www.andrerieu.com: “During our tour in South Africa, I heard about the talent of the South African soprano, Kimmy Skota. When I first heard her sing I thought, “Wow, I knew there were diamonds here in South Africa, but this has got to be the most beautiful diamond of all!”

“Her voice is so pure and sparkling, but at the same time, so rich and warm! Kimmy really sings directly from her heart and you can hear that – she sings each emotion straight from heart to heart. So, I was very proud that she immediately said yes when I asked her if she would like to go on tour with me to conquer hearts all over the world with her glittering diamond voice!”

The Dutch violinist is the world’s biggest classical artist, and he will be returning to SA in August 2012 for the third consecutive year, having already been seen by some 90 000 local fans. Look out for our Kimmy, sharing the limelight and shimmering like the true gem that she is!

South African singer, Kimmy Skota, has hit the big time – just a few short years after winning the SAMRO Overseas Scholarship for singers inthe Western Art Music category in 2007.

Our own dazzling diamond–

KIMMY SKOTAhits the high notes for

SAMRO

music education

Before he won the 2011 Standard Bank Young Artist Award for Jazz, pianist Bokani Dyer dazzled in the SAMRO Overseas Scholarships Competition.Photos courtesy of the National Arts Festival.

Pianist Ben Schoeman, the 2011 Standard Bank Young Artist for Music, was a previous SAMRO scholarship winner.

Kimmy Skota with Andre Rieu: Kimmy Skota has received warm acclaim around the world for her performances with André Rieu. Photo courtesy of Hunta Live

Glittering… Kimmy Skota

44 // SAMRO Notes


Montierre won the coveted scholarship in the Western Art Music category, while Sotashe was awarded top honours in the Jazz/Popular Music category. Both are students at the University of Cape Town (UCT).

Each winner receives a R160 000 scholarship (plus R10 000 travel allowance) from SAMRO Endowment for the National Arts (SENA) to study music at tertiary level at a recognised international institution.

SENA commissioned composer, Peter Klatzow, who won the SAMRO scholarship for composers in 1964, to set former President Mbeki’s iconic“I am an African” speech to music for voice and orchestra for the Overseas Scholarships Competition.

The gala event, held at the Linder Auditorium in Parktown, marked the première of this new work. It was performed by the two Western Art candidates, sopranos Hlengiwe Mkhwanazi (26) and Montierre (21), both from UCT.

The two Jazz/Popular Music finalists, mezzo soprano Emily Bruce (31) and baritone/tenor Sotashe (21), also from UCT, sang jazz composer Noel Stockton’s South African Medley on the night. The medley consisted of arrangements of Brotherhood by Stockton, from a poem by Edwin Markham, with additional Xhosa text by Bonisile Gcisa; as well as Ntyilo-Ntyilo by Alan Silinga; and A Cry, A Smile, A Dance by Selaelo Selota (arranged by Judith Sephuma).

The singers were accompanied by the Johannesburg Philharmonic Orchestra under the baton of Albert Horne, as well as by pianist

Elna van der Merwe, and a jazz trio made up of

pianist Melvin Peters, bassist Marc Duby and drummer Kesivan Naidoo (a previous SAMRO scholarship winner and the Standard Bank Young Artist for Jazz in 2009).

The audience was also treated to a vibrant performance by the Soweto Marimba Youth League, also known as SMYLe.

This gala final round was preceded by the intermediate round, on 1 September, during which the six semi-finalists in the two genres were narrowed down to two in each category.

SENA’s annual Overseas Scholarships Competition is the country’s largest music education award.

Sensationalsingers comeout tops

Main picture: Vuyo Sotashe and Maude Montierre, winners of the 2011 scholarships competition.Inset: Best of the best! SAMRO Overseas Scholarships finalists for 2011.Photos by Emil Wessels

Vuyo Sotashe and Maudé Montierre were named the winners of the 2011 SAMRO Overseas Scholarships Competition, during a glittering gala event on 3 September 2011 attended by former President, Thabo Mbeki.

The two winners with former President Thabo Mbeki and SAMRO Chairman Annette Emdon. Photo by Emil Wessels


50 years ofOverseas ScholarshipsSAMRO

1993 Mark KILLIAN PIANIST (Contemporary Popular)1994 Martin WATT COMPOSER (Serious)1995 Katherine HENDERSON SINGER (Serious)1996 Magda de VRIES PERCUSSIONIST (Serious) Buddy WELLS SAXOPHONIST (Contemporary Popular)1997 Mark NIXON PIANIST (Serious)1998 Robert FOKKENS COMPOSER (Serious)1999 Abel MOTSOADI (MOENG) SINGER (Serious)2000 Amanda GOODBURN VIOLINIST (Serious) Kesivan NAIDOO DRUMMER (Jazz/Popular)

2001 Salome Van Der WALT PIANIST (Serious) Jason REOLON PIANIST (Jazz/Popular)2002 Melissa Van Der SPUY COMPOSER (Jazz/Popular)2003 Nicholas NICOLAIDIS SINGER (Serious) Abigail PETERSEN SINGER (Jazz/Popular)2004 Marlene VERWEY FLAUTIST (Serious) Ayanda SIKADE DRUMMER (Jazz/Popular)2005 Ben SCHOEMAN PIANIST (Serious) Burton NAIDOO PIANIST (Jazz/Popular)2006 Matthijs Van DIJK COMPOSER (Western Art) Gareth WALWYN COMPOSER (Jazz/Popular)

2007 Kimmy SKOTA SINGER (Western Art) Monique HELLENBERG SINGER (Jazz/Popular)2008 Cobus Du TOIT FLAUTIST (Western Art) Michael BESTER GUITARIST (Jazz/Popular)2009 Olga RADEMAN PIANIST (Western Art) André PETERSEN PIANIST (Jazz/Popular)2010 Keith MOSS COMPOSER (Western Art) James BASSINGTHWAIGHTE COMPOSER (Jazz/Popular)2011 Maudé MONTIERRE SINGER (Western Art) Vuyo SOTASHE SINGER (Jazz/Popular)

1962 Graham NEWCATER COMPOSER1963 NO SCHOLARSHIP AWARDED1964 Peter KLATZOW COMPOSER1965 NO SCHOLARSHIP AWARDED1966 James MAY COMPOSER Carl Van WYK COMPOSER1967 Bernhard De KLERK SINGER1968 Aubrey MEYER COMPOSER1969 Steven De GROOTE PIANIST1970 NO SCHOLARSHIP AWARDED1971 Jürgen SCHWIETERING VIOLINIST1972 Roelof TEMMINGH COMPOSER1973 Wim VILJOEN ORGANIST

1974 NO SCHOLARSHIP AWARDED1975 Marc RAUBENHEIMER PIANIST1976 Hans ROOSENSCHOON COMPOSER1977 Piet KOORNHOF VIOLINIST1978 Paul TRIMMING PIANIST1979 John Reid COULTER COMPOSER1980 Deon Van Der WALT SINGER1981 Anton NEL PIANIST1982 Barry JORDAN COMPOSER1983 Paul Van Der MERWE OBOIST1984 Bennie FOURIE PIANIST1985 Dirk De KLERK COMPOSER

1986 Pieter SCHOEMAN VIOLINIST1987 Anneke Van HEERDEN PIANIST1988 David HOENIGSBERG COMPOSER1989 Charlotte POTGIETER VIOLINIST1990 Nicolene Van Der WALT PIANIST1991 Etienne Van RENSBURG COMPOSER (Serious) Gregg TELIAN COMPOSER (Contemporary Popular)1992 Bryan CLARKE PERCUSSIONIST (Serious) Anri van der WESTHUIZEN SINGER (Contemporary Popular)1993 Nina SCHUMANN PIANIST (Serious)

Tutu Puoane

Photos courtesy of the SAMRO Endowment for the National Arts

Abel Moeng Peter Klatzow Andre PetersenKesivan Naidoo Bokani Dyer

The first recipient of the Ralph Trewhela Award, by unanimous decision of the panel of bursary adjudicators, was Andrew Hoole, a third-year student at the SA College of Music at the University of Cape Town.

This significant bequest follows talks initiated in 2008 by André le Roux, on behalf of SENA, with the Trewhela heirs in London, Dr Beverley Naidoo (his daughter) and Paul Trewhela (his son).

Born in 1911, Ralph Trewhela has been linked to light music in South Africa for many years. When he passed away on 15 September 1983, Raeford Daniel wrote in a tribute in the Rand Daily Mail, “He was perhaps South Africa’s most prolific composer of musical comedy and revue … Among the many successful shows that were scored by him were ‘Happy Landings’, ‘Eldorado’, I’ Spy’, ‘Ever Since Eve’, ‘Sextet’ and a marionette play, ‘Aladdin’.

“But he will, perhaps, be best remembered as the man who wrote South Africa’s Second World War marching song, ‘So Long, Sarie’. Another of his wartime songs, ‘There’s a Boy up North’, became something of an international hit when it was recorded by the ‘Forces’ Favourite’, Vera Lynn.”

Trewhela collaborated with his wife, Evelyn Levison, on several series of children’s programmes such as musical adaptations of ‘Gulliver’s Travels’, ‘Aesop’s Fables’ and the very popular radio programme, ‘Tales of the Bushveld’.

In 1980 Trewhela published a delightful book, ‘Song Safari’, about South African popular music, which could be described as a ‘trip down memory lane.’ In the foreword he states that he wanted the reader to ‘look back nostalgically at some of the songs that are part of our country.’

He relates in the book how some of the biggest hits came to be written down. “How Nico Carstens scribbled out the melody of ‘Hasie’, while Anton de Waal was taking a phone call … how a hunting chant heard by Solomon Linda as a young boy became ‘Wimoweh’ and ‘The Lion Sleeps Tonight’ … how David Marks jotted down ‘Master Jack’ in his survey book while working underground in a Witbank mine.”

The SAMRO Music Archive is proud to have copies of this limited release in its collection.

Trewhela became a board member of SAMRO in 1971 as the accredited representative of Gallo (Africa) Limited and, after his retirement in 1977, remained a valued member of SAMRO in his own right.

One-time SAMRO Chairman, Paul Roos, was quoted as saying: “He was one of our most loyal and devoted directors. He attended our last meeting, although he could hardly walk. He was an enthusiastic supporter of the creative arts and, in all the projects SAMRO was involved in, Ralph Trewhela was always in the forefront of discussions and suggestions.”

In his book, ‘Song Safari’, Ralph Trewhela writes the following dedication to SAMRO founder Dr Gideon Roos, “To Gideon Roos who feels, as I do, that trailblazers should not be forgotten.”

A ‘trailblazing’ bursary in honour

of Ralph Trewhela


SENA also administers the following bequests and donations:

SAMRO/Gettleson String Study Awards – R50 000

These awards, funded by a magnanimous bequest from the late Eve Gettleson, were offered for the first time in 2000, and will continue to be available every fourth year as study grants in the Western Art Music genre of the four-yearly rotating SAMRO Overseas Scholarships for instrumentalists. They are specifically intended for talented young Southern African string players.

SAMRO/Bonhams Instrumental Music Study Awards – R3 000

Bonhams, established in 1793, is one of the oldest-established London auction houses, and has one of the world’s foremost musical instrument departments. A fine 18th century violin, part of the Gettleson bequest, was sold by Bonhams, which has since held several series of valuation days in South Africa. The auction house has generously made a proportion of its South African sales commission available to help fund two study awards – one for Western Art Music and one for Jazz/Popular Music – each currently worth R3 000.

SAMRO/Flink award – R30 000

This award, funded by a magnanimous bequest from the late Maisie Flink, is offered every fourth year as part of the SAMRO Overseas Scholarships for keyboard players, and is intended to encourage promising young South African pianists. A former student of Adolph Hallis, Flink was most acclaimed as a concerto soloist, but also as a recitalist, chamber player and accompanist and, for some three decades, as a UNISA music examiner. She was also an active member of the South African Society of Music Teachers and the Johannesburg Musical Society until her death aged 83.

SAMRO/Fisher award – R10 000 each

Jazz/Popular Music and Western Art Music

Cyril and Peta Fisher, who both died in 1995, were the guiding spirits of the Music Viva concert society from 1954 until its demise in 1980. Their generous bequest has funded two keyboard study awards, one in each genre, which are offered every fourth year as part of the SAMRO Overseas Scholarships for keyboard players. These awards are individually worth R10 000 each.

SAMRO/Noasa Vocal Study Award

SAMRO/Opsa Opera Training Award – R10 000

Western Art Music

The National Opera Association of South Africa (NOASA) and the Opera Society of South Africa (OPSA) were formed in the 1950s with similar aims of promoting operatic art in this country. Recent winners include tenor Musa Nkuna, sopranos Sally du Randt and Sally June Gain, mezzo-soprano Elza van den Heever and bass-baritone Abel Moeng, who was also winner of the SAMRO Overseas Scholarship (Western Art Music category) in 1999. On behalf of the trustees of both NOASA and OPSA, the educational awards are offered on a regular basis as part of the SAMRO Overseas Scholarships for singers.

SAMRO/ESME Webb Bequest – R9 500 each

Jazz/Popular Music and Western Art Music

Well-known singing teacher, Esme Webb, born in Bristol in 1912, performed at Covent Garden Opera and the BBC before she came to South Africa with her husband in 1965, where she opened a teaching studio in Johannesburg. She was a founder member of the singing department at the University of the Witwatersrand. With the late SAMRO composer member, Eva Harvey, Webb was also actively involved in the work of a trust set up to assist young musicians. She continued to teach singing until the age of 93. This one-off award was funded from donations made at the request of her son, Julian Denny, by mourners at his mother’s funeral.

SAMRO/Anton de Waal Composer Study Award – R7 000

Jazz/Popular Music

This award is funded by a bequest made by songwriter, Anton de Waal (1917–1974), a member of SAMRO

who also served on its Board of Directors. Together with Nico Carstens, his frequent collaborator, Anton de Waal wrote a number of favourite South African hits, including the evergreen ‘Zambesi’.

If you wish to make a contribution to music education in South Africa through SENA’s bequests and donations programme, please contact Andrè via email: [email protected]

The children of late South African music pioneer, Ralph Trewhela, have bequeathed their father’s royalties to the SAMRO Endowment for the National Arts. This allows SENA to give the funds to deserving young South African composers to further their music education.

Ralph Trewhela and Dr Gideon Roos. Photos courtresy of the SAMRO Archive

A lasting legacy

SAMRO ENDOWMENT IS GRATEFUL for Trewhela heirs’ generous bequest, and would like to encourage more to follow in Trewhela’s ‘trailblazing’ footsteps and make bequests of this kind, through which deserving composers can be afforded a better chance to further or complete their music studies.


In memoriam• Du Plessis, Hubert Lawrence • Rautenbach, Stephanus Petrus • Mokoka, Johannes Windy • Xulu/Zulu, Senzo Ricardo

• Mokoenehi, Lebajoa Joseph

• Mokoka, Johannes Windy

• Nkosi, Jotham

• Zulu, Senzo Ricardo

• Nyembe, Sipho Christian

• Mbatha, Herman

• Mbatha, Mphumeleli Lucky

• Nkabinde, Lungile Zephaniah

• Van Heerden, Pieter Johannes

• Gwala, Gift Phumakude

• Buthelezi, Thembinkosi Simon

• Van Heerden, Alexander Scott

• Hlatshwayo, Hamilton Bhekisisa

• Khanyile, Sphiwe Richard

• Janda, Samuel Zamayedwa

• Maree, Lucas Lodewyk

• Khunou, David

• Xmthimanye, Lettie Kabenziwa

• Kitchen, Sydney Stanley

• Mzolo, Mkhauleni Zephania

• Lidovho, Julius Tshinyadzo

• Barry, Dean Shear

• Ngqawana, Zimasile

• Mahony, Shane Bernard

• Ntuli, Simiso Bhekuyise

• Mlangeni, Absalom Petrus

• Ximba, Vusa Osborn

• Monegi, Nnaku Jacob

• Zondi, Mandla

• Morris, Richard John

• Mkhwanazi, Bhekinkosi Nkoempoe

• Ngobese, Busani

• Mpehlo, Jury Nkululeko

• Njakazi, Christopher

• Ngcobo, Shiyani

• Zweni, Nkosibawo Eric

• Ramotsie, John

• Shanahan, Jerry

• Saohatsi, Mosalani Bethuel

• Tau, Moloantoa Cantridge

• Seabi, Mmahlakane Joseph

• Jansen Van Vuuren, Phillipus Theunis

• Styer, Adrian David

• Tshabalala, Buyisiwe Joyce

• Rakhomo, Johannes Ntjaentso

• Zihlangu, Mzwamahlubi

• Van Niekerk, Izak Jakobus Marthinus

authors and composers

Their legacy will endure.

SAMRO is saddened by the deaths of a number of its author/composer members during the course of the past year. The organisation extends its condolences to their loved ones, and hopes they can find some solace in the knowledge that these SAMRO stalwarts have forever enriched the country’s musical heritage.

SAMRO 24/7 CONTACT DETAILSTelephone: 0800 247 247 (Toll-free from Telkom landlines and for 8•ta subscribers)International: +27 11 712 8039SMS: 45147 @R1 per SMSFax: 086 688 3616E-mail: [email protected]: /SAMROSouthAfricaTwitter: @SAMROMusicWebsite: www.samro.org.za

| 50th special edition

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