THE 26Th ANNUAL SOUTH AFRICAN MUSIC AWARDS GENERAL RULES

Total Page:16

File Type:pdf, Size:1020Kb

THE 26Th ANNUAL SOUTH AFRICAN MUSIC AWARDS GENERAL RULES THE 26th ANNUAL SOUTH AFRICAN MUSIC AWARDS GENERAL RULES 2019 RiSA Unit 1 l 152 Bram Fischer Drive l Randburg 2196 T +27 (11) 886 1342 l F +27 (11) 886 4169 www.samusicawards.co.za CONTENTS 1. INTRODUCTION A The sequence of Key Events in the Awards process B How to enter 2. GENERAL RULES A Eligibility for Entry B Prizes C Broadcast and Exploitation rights D Entry Fees E General 3. CATEGORIES RULES AND REGULATIONS 3.1 TOP 5 CATEGORIES A Album of the Year B Duo or Group of the Year C Female Artist of the Year D Male Artist of the Year E Newcomer of the Year 3.2 ALBUM GENRE SUPER CATEGORIES A Best Rock Album B Best Pop Album C Beste Pop Album D Best Adult Contemporary Album E Beste Kontemporêre Musiek Album F Best African Adult Contemporary Album G Best Alternative Album H Best R&B / Soul Album I Best Hip Hop Album J Best Kwaito Album K Best Dance Album L Best Traditional Faith Music Album M Best Contemporary Faith Music Album N Best African Indigenous Faith Music Album 2 RiSA Unit 1 l 152 Bram Fischer Drive l Randburg 2196 T +27 (11) 886 1342 l F +27 (11) 886 4169 www.samusicawards.co.za O Best Traditional Album 3.2 ALBUM GENRE SUPER CATEGORIES (CONTINUED) P Best Maskandi Album Q Best Jazz Album R Best Classical Album S Best Afro Pop Album T Best Reggae Album 3.3 SPECIAL AWARDS A Lifetime Achievement Award B International Achievement Award C Best Selling Awards C1 Best Selling Artist C2 Best Selling Live Audio Visual D Rest Of Africa Award 3.4 TECHNICAL CATEGORIES A Best Produced Music Video B Best Produced Album of the Year C Best Engineered Album of the Year D Remix of the Year E Best Live Audio-Visual Recording of the Year F Best Collaboration 3.5 PUBLIC VOTE CATEGORY Record of the Year Music Video of the Year 3 RiSA Unit 1 l 152 Bram Fischer Drive l Randburg 2196 T +27 (11) 886 1342 l F +27 (11) 886 4169 www.samusicawards.co.za 1. INTRODUCTION The South African Music Awards (SAMAs) exist to recognize accomplishments in the South African recording industry, by honouring and celebrating those groups and individuals who have excelled in the relevant entry or qualifying period. The Recording Industry of South Africa (RiSA) is the organizer and host of the SAMAs. A. THE SEQUENCE OF KEY EVENTS IN THE AWARDS PROCESS 1) The 26th Annual South African Music Awards (“SAMA26”) will open for entry on 01st November 2019, and close on 31 January 2020. An official announcement will be made prior to the opening date through direct communication to the members of the Recording Industry of South Africa (RiSA), as well as public announcements through various media platforms including the SAMA and RiSA websites. 2) Record companies and individual artists are required to submit entries in accordance with the published rules of the South African Music Awards (SAMA Rules). 3) The entries received are then screened for compliance with the SAMA Rules in order to ensure that they are eligible and that they were submitted into the correct award categories. Vetting Committee members overseen by designated SAMA officials, carry out this screening process, known as vetting. 4) No artistic or technical judgments are made during vetting, and all ineligible entries that do not comply with the SAMA Rules are disqualified subject to the RiSA office informing the relevant entrants and providing them with reasons. Entries that are found to be in the incorrect categories do not get disqualified but the Vetting Committee may move them to more appropriate places in consultation with the entrants, who shall have the final say on the location of their entries. 5) A panel of judges adjudicates all SAMA categories with the exception of the Public Vote, Lifetime Achievement, International Achievement and Best Selling awards. Generally, there is a different judging panel for each category and its composition gets reviewed annually. Members of the Steering Committees select the judges and members of the Supervisory Committee confirm them, taking into account their level of expertise in the relevant category, and their general knowledge of the music industry. 6) After the vetting process has concluded, all eligible SAMA entries are forwarded to the judges who adjudicate using the SAMA electronic judging system, in accordance with defined guidelines and by applying the assessment criteria for each category. The SAMA electronic judging system configured with a weighting criterion for each category, which is not visible to the judges. The weighting criterion is pre- determined by the members of various Steering Committees and it contributes to the final ranking of the judges’ choices in each category. 7) In the interest of uniformity, independent auditors collate the results returned by judges into auditable sets. The auditors then calculate the results on which the list of five nominees per category is based and they ensure that the choices of the judges have been arrived at in accordance with all the relevant rules of each category. 8) Once the nominees for all categories have been collated, they are announced at RiSA’s discretion. 9) Finally, the winners are announced at the Awards Ceremony. B. HOW TO ENTER RiSA provides entrants with forms that must be completed and submitted online. On completion of the online entries, the following assets are required to have reached the RiSA office by no later than the published closing date of the competition, failing which the entry is disqualified: 4 RiSA Unit 1 l 152 Bram Fischer Drive l Randburg 2196 T +27 (11) 886 1342 l F +27 (11) 886 4169 www.samusicawards.co.za 1) If an entry is by a member of RiSA, the proof of payment of the prescribed RiSA levies up to the date of entry and RiSA membership fee. 2) The proof of payment of the entry fees for each category entered. 3) The prescribed number of copies of the entered album, single or DVD, in the specified format. 4) A declaration of all licenced recordings on any album entered, in particular for the Best Dance, Best Hip Hop and Best Kwaito album genre categories. 5) In the Best Collaboration category, written approval by a collaborating artist who is not signed to the entrant, 6) In the Best Remix category, the original recording must be submitted and the original repertoire owner must authorize the entry in writing 7) The prescribed publicity materials of groups or individuals entered into the SAMAs. A help desk with designated SAMA officials will be made available at the RiSA offices for those who are unable to enter online. 2. GENERAL RULES A. ELIGIBILITY FOR ENTRY 1. Entries are open to RiSA members and non-RiSA members alike. Entries are open in respect of any qualifying groups or individuals being a person who: 1.1 except for the Rest Of Africa Award category, is a South African citizen or someone who has been granted a permanent resident status in South Africa for a minimum period of six (6) months prior to the date of entry; and: 1.2 is a South African entity and owns or controls the master recording relating to the entry in question. 1.3 being in a duo or group formation, not less than fifty percent (50%) of the members of the duo/group must comply with the citizenship or permanent residency criteria set out in Clause 2, above. 2. RiSA reserves the right to request documented/written proof that all groups or individuals qualify as set out in 2A1 above. The documents which may be requested include, amongst others, the following documents issued by the Department of Home Affairs: 2.1 South African identity document. 2.2 Permanent Residence Permit. 3. Unless the category states otherwise, the entries of collaborations between qualifying South African groups or individuals and their international counterparts are allowed; provided that the participation of the South African groups or individuals is given a star or equal billing. 4. The entry period for the 26th Annual SA Music Awards is as follows: 4.1 All recordings (singles and albums) submitted for the 26th Annual SA Music Awards must have been commercially released (in other words first made available for purchase) in South Africa during the period 01 February 2019 to 31 January 2020 (“the entry period”). 4.2 All music videos submitted for the 26th Annual SA Music Awards in the category "Best Produced Music Video must have been shown by a television broadcaster or published on any digital platform during the period 01 February 2019 to 31 January 2020 (“the entry period”). 4.3 All songs short-listed for the 26th Annual SA Music Awards in the Record of the Year category will be adjudicated based on cumulative airplay over the period 01 March 2019 to the 28 February 2020 (“the qualifying period”). The method employed by the independent auditors in determining the shortlist will take into consideration the number of plays (“spins”) achieved 5 RiSA Unit 1 l 152 Bram Fischer Drive l Randburg 2196 T +27 (11) 886 1342 l F +27 (11) 886 4169 www.samusicawards.co.za during the qualifying period. A single tracking source, (e.g. Radiomonitor), will be used in determining the shortlist for Record of the Year for SAMA26. 4.4 All music videos short-listed for the 26th Annual SA Music Awards in the Music Video of the year category will be adjudicated based the most played music videos sourced from RiSA Audio Visual Licensing NPC over the period 01 March 2019 to the 28th February 2020 (“the qualifying period”).
Recommended publications
  • • WHO Says Spread of the Pandemic Slowing in Africa • Warns Against Hasty Re-Opening of Schools 2 Echo Report Echo Newspaper 24 - 30 August 2020
    West African Mediators In THE AFRICAN STORY Mali Seeking Reversal Of Coup page 3 Princess Marina Hospital ISSUE NUMBER 734 VOLUME 2 24 - 30 AUGUST 2020 records over 30 cases amid Covid-19 surge page 4 ‘CORONAVIRUS PANDEMIC MAY LAST LESS THAN 2 YEARS’ • WHO says spread of the pandemic slowing in Africa • Warns against hasty re-opening of schools 2 Echo Report Echo Newspaper 24 - 30 August 2020 THE AFRICAN STORY News, Finance, Travel and Sport Telephone: (267) 391 2305 E-mail: newsdesk@echo. co.bw Advertising Telephone: (267) 3922 655 E-mail: [email protected] Sales & Marketing Manager Ruele Ramoeng [email protected] Editor Bright Kholi [email protected] Head of Design Ame Kolobetso [email protected] Distribution & Circulation Mogapi Ketletseng [email protected] Echo is published by YMH Publishing YMH Publishing, Unit 3, Kgale Court, Plot 128, GIFP, Gaborone Postal address: P O BOX 840, Gaborone, Botswana ‘Coronavirus pandemic Telephone: (267) 3922 655 E-mail: [email protected] www.echo.co.bw DISCLAIMER: may last less than 2 Echo Newspaper welcomes concise letters from readers. Letters must carry the full name and address of the sender. Letters must conform to the laws of years’ Botswana and to the Press Council of Botswana’s Code The World Heatlh Organisation course with more connectiveness, stages of the pandemic, the rate Although pressure was building Of Ethics. Letters will also be Chief Tedros Adhanom the virus has a better chance of infection gradually accelerated in some countries to open up edited for length, libel and Ghebreyesus has for the first of spreading, it can move fast especially in South Africa, which schools, Nkengasong said it was language.
    [Show full text]
  • Exploring How Digitalisation Has Influenced Entertainment and Lifestyle Journalism at Tiso Blackstar Group
    Exploring how digitalisation has influenced entertainment and lifestyle journalism at Tiso Blackstar Group Jessica Farah Dissertation presented for the degree Master of Journalism in the Faculty of Arts and Social Sciences at Stellenbosch University Supervisor: Dr Gabriël J. Botma March 2020 Stellenbosch University https://scholar.sun.ac.za Declaration I, the undersigned, hereby declare that the work contained in this thesis is my own original work and that I have not previously in its entirety or in part submitted it at any university for a degree. Jessica Farah March 2020 Copyright © 2020 Stellenbosch University All rights reserved i Stellenbosch University https://scholar.sun.ac.za Abstract This study explores how entertainment and lifestyle journalists have been influenced by digitalisation within the broader Tiso Blackstar Group newsroom. Presented within the field of journalism studies, the study analyses how digital tools have influenced the news gathering processes. These processes, including the selection and publication of content, are described by theories such as the news net, gate-keeping and news values, while concepts from Pierre Bourdieu’s field theory aid the understanding of a specialised field in the newsroom . A literature review showed the introduction of digital tools has been met with mixed reaction from journalists and media professionals as online journalism faces a myriad of criticism including fake news, sensationalist reporting, a lack of investigative stories and bowing down to the needs of the reader. This study is timeous as South African media houses, including Tiso Blackstar Group, are under fire for the publishing of alleged false stories and reported chequebook journalism.
    [Show full text]
  • Soundtrack of the Townships: Gqom | Norient.Com 27 Sep 2021 03:45:07
    Soundtrack of the Townships: Gqom | norient.com 27 Sep 2021 03:45:07 Soundtrack of the Townships: Gqom by Philipp Weichenrieder Some call it a hybrid of breakbeat and house, some call it «apocalyptic riot music». But for the producers from the townships of Durban, South Africa, Gqom is more than a clubmusic style. It feels like being dragged into a black hole. A single low-pitched string sound is steadily, ominously and threatening hovering in the background. It is creating an eerie atmosphere, a thick and somewhat physical perceptible veil that is set swinging by stumbling kick drums and develops a strangely light and floating movement which at the same time is raw and fiercely pushing. This contradictory dynamic is characteristic and special about a yet young genre of electronic dance music evolving out of the townships of Durban which is also causing a stir in Europe: Gqom. The Zulu word «Gqom», the combination of g and q articulated with a click made with the tongue (can be heard here), means either «drum», «noise», «bucket» or «music». Sometimes the term is also explained as an onomatopoeic equivalence to the noise of a stone falling on a floor tile. This stands for the raw sound with its repetitive and hypnotizing drum rhythm in its centre. Gqom music is not about feel-good harmonies, it is about trance. Pioneering producers like 21-years-old DJ Lag or 26-years-old Sbucardo also https://norient.com/index.php/stories/soundtrack-of-the-townships-gqom-from-durban Page 1 of 5 Soundtrack of the Townships: Gqom | norient.com 27 Sep 2021 03:45:07 describe Gqom as «3-Step».
    [Show full text]
  • Alternate African Reality. Electronic, Electroacoustic and Experimental Music from Africa and the Diaspora
    Alternate African Reality, cover for the digital release by Cedrik Fermont, 2020. Alternate African Reality. Electronic, electroacoustic and experimental music from Africa and the diaspora. Introduction and critique. "Always use the word ‘Africa’ or ‘Darkness’ or ‘Safari’ in your title. Subtitles may include the words ‘Zanzibar’, ‘Masai’, ‘Zulu’, ‘Zambezi’, ‘Congo’, ‘Nile’, ‘Big’, ‘Sky’, ‘Shadow’, ‘Drum’, ‘Sun’ or ‘Bygone’. Also useful are words such as ‘Guerrillas’, ‘Timeless’, ‘Primordial’ and ‘Tribal’. Note that ‘People’ means Africans who are not black, while ‘The People’ means black Africans. Never have a picture of a well-adjusted African on the cover of your book, or in it, unless that African has won the Nobel Prize. An AK-47, prominent ribs, naked breasts: use these. If you must include an African, make sure you get one in Masai or Zulu or Dogon dress." – Binyavanga Wainaina (1971-2019). © Binyavanga Wainaina, 2005. Originally published in Granta 92, 2005. Photo taken in the streets of Maputo, Mozambique by Cedrik Fermont, 2018. "Africa – the dark continent of the tyrants, the beautiful girls, the bizarre rituals, the tropical fruits, the pygmies, the guns, the mercenaries, the tribal wars, the unusual diseases, the abject poverty, the sumptuous riches, the widespread executions, the praetorian colonialists, the exotic wildlife - and the music." (extract from the booklet of Extreme Music from Africa (Susan Lawly, 1997). Whether intended as prank, provocation or patronisation or, who knows, all of these at once, producer William Bennett's fake African compilation Extreme Music from Africa perfectly fits the African clichés that Binyavanga Wainaina described in his essay How To Write About Africa : the concept, the cover, the lame references, the stereotypical drawing made by Trevor Brown..
    [Show full text]
  • Melahuset Og Melafestivalen 2020
    rsrapport Å 2020 • Melafestivalen • Melahuset Bugge Wesseltoft, Nick Hatch, Lotus og Droolian, Melafestivalen 24. september 2 Innhold Kunstformidling gjennom en krisetid 5 Året på Melahuset og Melafestivalen 9 Koronahåndteringen på Melahuset 10 og Melafestivalen Kommunikasjon og synlighet 12 Årsrapport Melafestivalen 15 Konserter på Melafestivalen 2020 17 Stab og styre 2020 / Økonomi 23 Årsrapport Melahuset 25 Våren på Melahuset 26 Høsten på Melahuset 27 Melahusets egne produksjoner i 2020 31 Stab og styre 2020 / Økonomi 39 Tabeller / oversikt over arrangementer 40 på Melafestivalen 3 Queendom på Melahusets 8. mars-markering 4 unstformidling K gjennom en krisetid Mye har skjedd siden mars da pandemien traff verden, og kulturelle begivenheter, særlig fysiske møteplasser, ble truet med nedstengning. Melafestivalen på Rådhusplassen ble avlyst. rilufts- og utendørsfestivaler av alder og etnisitet som skiller stemninger, dekorasjoner, leker Fble et opplagt mål for denne byens befolkning. og andre typer uttrykk som er krisen fordi det ble fokus på Som kjent har Oslo Mela blitt til på tvers av tradisjonelle større menneskeansamlinger. utviklet seg til å være live, så vel som utradisjonelle Utendørsfestivaler har mer sjangeroverskridende, skillelinjer. enn noe annet vært arenaer uforpliktende, en fysisk for det som også skjer på møteplass, et slags rendezvous, Alle typer mennesker, alle plassen, arenaen i seg selv er for byens mangfoldige generasjoner, store og like interessant som det som befolkning, en smeltedigel der små, har gjennom fysisk skjer på scenen. Arenaen gir en man kan oppleve kunst- og og intim tilstedeværelse på spennende og friere ramme for kulturuttrykk fra flere deler av Rådhusplassen fått ta del i publikum og bidrar derfor også verden – uttrykk som både er denne berikelsen av samfunnet, til økte opplevelser.
    [Show full text]
  • Upcoming-Mag-17
    A FAST-GROWING ONLINE MAGAZINE 17TH ISSUE #AUGUST 2020 MODEL FOCUS: BONTLE MASOABATHI UPCOMING MAG 1 PAGE 2: INDEX PAGE 3: EDITORS CORNER PAGE 4: KAY - DERSH PAGE 7: SAINT.VILLIAN PAGE 11: ELTEE RSA PAGE 14: HLONI#M PAGE 17: PRINCEEURO89 PAGE 20: VINTAGE BOYS PAGE 23: DAVID MOKOENA PAGE 26: NEFTHALI LANGA PAGE 28: DREAM BEYOND PAGE 29: MARCH AGAINST GBV PAGE 32: GBV POSTERS CREDIT PAGE 33: INTERVIEW WITH BOITUMELO PAGE 38: THANDO DLAMINI PAGE 39: THANDO’S WORK PAGE 41: BREE MOKWADI PAGE 45: TEBOGO TSHEHLA PAGE 50: MARTHA KHUMALO PAGE 54: INTERVIEW WITH CHUMANDE PAGE 58: INTERVIEW WITH ZINGO LINGO PAGE 61: COVER MODEL: NONTANDO PAGE 65: LEADING SA AGENCIES PAGE 67: MODEL FOCUS UPCOMING MAG 2 Hey Upcoming Mag Supporters when the Covid19 pandemic started most people thought it was a lie and now that people know a person or people who past away from Covid19 people are frightened, our I was Supposed to Shoot our cover Model winner: Charmaine on Sunday for our 17th Cover but her parents didn’t allow her to come in fear that if she contracts the virus she will bring it home with her, honestly people are scared, they cancelling paid shoots, even when I offer free shoots no one comes, so our Cover Model Competition is on hold, we were suppose be shooting our 18th Cover Model Winner: Thandeka Masuku on the 10th of August, But she say she also can’t make it, to be on our Cover you have to send your best professional pictures to 0749023257 and the person with the best looking pictures will be on our cover.
    [Show full text]
  • African Union Calls on Countries to Join Peer
    THE AFRICAN STORY ADVERTISE WITH US DON’T BE LEFT BEHIND ISSUE NUMBER 762 VOLUME 2 29 MAR - 08 APRI 2021 Botswana Makes Strides Towards Cybersecurity Preparedness page 5 Giant hip blocking the Suez Canal could be freed by start this week AFRICAN UNION page 7 Botswana’s Women in CALLS ON COUNTRIES Tourism wrap Women’s Month with a high tea TO JOIN PEER REVIEW symposium MECHANISM -DRC becomes newest member -Membership currently stands at 41 page 13 2 Echo Report Echo Newspaper 29 Mar - 08 April 2021 THE AFRICAN STORY News, Finance, Travel and Sport Telephone: (267) 3933 805/6. E-mail: newsdesk@echo. co.bw Advertising Telephone: (267) 3933 805/6 E-mail: [email protected] Sales & Marketing Manager Ruele Ramoeng [email protected] Editor Bright Kholi [email protected] Head of Design Ame Kolobetso [email protected] African Union calls on countries Distribution & Circulation Mogapi Ketletseng [email protected] Echo is published by to join Peer Review Mechanism YMH Publishing YMH Publishing, Unit 3, Kgale Court, Plot 128, GIFP, Gaborone Postal address: The Democratic Republic of members to provide and submit and Mozambique. support project, the African P O BOX 840, Congo has become the newest to evaluation at local, national African Development Bank Development Bank will continue Gaborone, member to join the African and continental levels. President Akinwumi A. Adesina to very strongly back efforts Botswana Telephone: (267) 3933 805/6. Union’s African Peer Review Improving governance, tackling joined heads of state at the to enhance the efficiency, E-mail: [email protected] Mechanism.
    [Show full text]
  • Upcoming-Mag-5
    ---- Do forget to share with all your whatsapp contacts. For more info: 074 902 3257 All about Up comers June 5, 2019 [UPCOMING MAG JUNE ISSUE , Cover: #The struggle just began. Page 2 Interview with Samantha our June Viewer’s Choice Page 26 Model Focus: Dlani Page 28 – 32 Report on Event Page 33 – 34 Number one on our Upcoming SoundCloud Chart: Ginky 35 Features: Intuthuko community development Page 3 5ways to break into the music industry without a record lebal Page 4 Productions. Page 5 Beat makers: Troy Vee Page 6 Dancer: Ryan Page 8 Biographies Page 9 – 18 Poetrty Page 20 – 21 Artist interview Page 23 – 24 Model interview: Fortunate Page 27 Events Page 36 - 44 Don’t forget to share with all your whatsapp contacts Page 1 June 5, 2019 [UPCOMING MAG JUNE ISSUE , I am sorry to announce that Lauren has personal problems therefore she could not Edited this issue sorry for the inconvenience I am still working alone, I am not sure if she will have her things sorted to edit our issue this month, but anyone who would like to be part of team Upcoming Mag please contact me on 0749023257. Today Jozi of CJM9 asked me who do I work with on Upcoming Mag my answer was I work alone but that is not the truth, I work with up comers: models, artists, dancers, producers, actors/actresses, etc, that is why Upcoming mag is such a success on that note I would like to thank everyone working with me, some of the ideas we get from you guys, therefore thank you.
    [Show full text]
  • Upcoming-Mag-4
    ---- Do forget to share with all your whatsapp contacts. For more info: 074 902 3257 All about Up comers May 1, 2019 [UPCOMING MAG MAY ISSUE , Cover: Biographies Page 4 - 13 The Story behind the song: Black Maipatie Page 14 Interviews Page 17 - 20 As fans Demanded: Hustla Reubz Page 23 Freelance Models Page 25 - 26 Our Viewer’s Choice Asemahle Myezo Page 27 Identity Theft Page 34 Features: Beat makers: Page 3 Productions. Page 15 Studios. Page 16 Songwriters Page 30 African Beauty Page 26 Poetrty Page 31 Events Page 35 - 53 Black Clique Musiq Entertainment Page 21 - 22 Top 30 Upcoming Soundcloud Charts Page 47 Advertisements Don’t forget to share with all your whatsapp contacts Page 1 May 1, 2019 [UPCOMING MAG MAY ISSUE , I am sorry to announce that Lauren has personal problems therefore she could not Edited this issue sorry for the inconvenience I am still working alone, I am not sure if she will have her things sorted to edit our issue this month, but anyone who would like to be part of team Upcoming Mag please contact me on 0749023257. Today Jozi of CJM9 asked me who do I work with on Upcoming Mag my answer was I work alone but that is not the truth, I work with up comers: models, artists, dancers, producers, actors/actresses, etc, that is why Upcoming mag is such a success on that note I would like to thank everyone working with me, some of the ideas we get from you guys, therefore thank you. I would like to thank all our viewers who take their time going through Upcoming Mag Reading everything, thank you.
    [Show full text]
  • Reimagining the City, Rewriting Narratives: Music, Suburban Youths, and Inner City Redevelopment in Johannesburg, Circa 2015
    Reimagining the City, Rewriting Narratives: Music, Suburban Youths, and Inner City Redevelopment in Johannesburg, circa 2015 Amanda Mullins A thesis submitted to the Faculty of Humanities, University of the Witwatersrand, Johannesburg, in fulfilment of the requirements for the Degree of Master of Arts by Research in Music Johannesburg 2016 ii Abstract This research explores the influence that inner city redevelopment in Johannesburg has had on both its music scenes and the identities of those participating in the music scenes, particularly young participants from Johannesburg’s suburbs who did not interact with the city before its redevelopment. Understanding the city’s history as well as the current lived and imagined divides between its suburbs and inner city illuminates its fragmented nature and informs the significance of the presence of suburban youths in today’s inner city music scenes. Personal and collective narratives gathered from participants of these inner city music scenes provide insight into the city’s spatial, social, and musical transitions, adding subjective voices to the city’s complex and ever- evolving history. The use of culture-led regeneration (within cultural clusters), as a model of redevelopment, has aided in the success of attracting new audiences to the inner city once eschewed by suburbanites, providing grounds for new experiences and interactions within an increasingly diverse social sphere. Due to this, the music’s diversity within these spaces is expanding too. The role of music – and in particular, alternative music – in enticing suburban youths to the inner city requires an understanding of why ‘alternative’ (or arguably, creative) people are often drawn to urban spaces, and in doing so, often become main contributors to the accomplishments and successes of redevelopment initiatives.
    [Show full text]
  • A Design of a South African Popular Music Degree Curriculum
    A Design of a South African Popular Music Degree Curriculum by Kirsten Nicole Adams Thesis presented in fulfilment of the requirements for the degree of Master of Music (Composition) in the Faculty of Arts and Social Sciences at Stellenbosch University Supervisor: Dr. Barry Ross April 2019 Stellenbosch University https://scholar.sun.ac.za Declaration By submitting this thesis electronically, I declare that the entirety of the work contained therein is my own, original work, that I am the sole author thereof (save to the extent explicitly otherwise stated), that reproduction and publication thereof by Stellenbosch University will not infringe any third party rights and that I have not previously in its entirety or in part submitted it for obtaining any qualification. Kirsten Nicole Adams April 2019 Copyright © 2019 Stellenbosch University All rights reserved i Stellenbosch University https://scholar.sun.ac.za Abstract The study is a qualitative literature review that aims to propose a design of an ideal Bachelor of Music in South African Popular Music curriculum for South African universities. The purpose of this study is to design a degree curriculum that responds to the demands of the South African music industry, and that will hopefully advance the output of the South African music industry. Although not central investigation in the study, cognisance is taken of the financial limitations higher education in South Africa. The possibility of a Bachelor of Music in South African Popular Music degree curriculum is explored in research material focused on Western popular music literature, the demands of the South African music industry, how popular musicians learn, a comparison between existing Bachelor of Music in Popular Music degrees abroad (Berklee College of Music (US), Leeds Arts University (UK) and Griffith University (Australia)) as well as what is available in South Africa.
    [Show full text]
  • PLUS: Cosatu's Bold R200bn Rescue Plan for Eskom
    AFRICA’S BEST READ December 13 to 19 2019 Vol 35 No 50 mailandguardian mg.co.za LOAD-SHEDDING There is a solution Common sense says we need to shift to a mix of renewable energy sources NOW PLUS: Cosatu’s bold R200bn rescue plan for Eskom Pages 4, 5 & 21 Products subject to availability. Cape Town | Johannesburg | Port Elizabeth | Pretoria | Durban 0860 665 533 2 Mail & Guardian December 13 to 19 2019 Mail & Guardian December 13 to 19 2019 3 IN BRIEF Floods, yet a dwindling dam While some areas in South Africa face a crip- Zozibini pling drought, parts of Centurion and Pretoria TWEET OF THE WEEK NUMBERS OF THE WEEK have been underwater. The extreme weather, The cost of the new diamond- Tunzi which saw days of rain resulted in displaced studded Miss Universe crown residents and about 150 people being rescued — dubbed "The Power of after being trapped in Mamelodi by fl oods on Unity” — that was placed on theR73m head of Miss South Monday. The air force was called in to rescue Africa, Zozibini Tunzi, after she was crowned numerous people in Centurion. Because this rain fl ows north, to the Limpopo River, it Miss Universe this week hasn’t done much for the Vaal Dam — which is down to less than 40% of its capacity. At The decline in water levels least the tunnel bringing water from Lesotho the Vaal Dam has experi- is back in action. Not that there’s much water in Lesotho. Don’t wash your driveway with a enced even though there hose.
    [Show full text]