NEFCISA
NEFCISA

The Music In Africa Foundation (MIAF) is proud of its partnership with the Industrial Development Corporation (IDC) as a Strategic Implementing Partner (SIP) for its Social Employment Fund (SEF). Through this collaboration, MIAF is running a national programme that is creating jobs, addressing skills gaps, and strengthening South Africa's creative industries — in line with the SEF's overarching goal to generate work for the common good and build community value through employment, social contribution, and inclusive economic participation. Operating under the banner NEFCISA (National Employment Facility for Creative Industries in South Africa), the initiative is recruiting and training participants, matching them with host organisations, and has already placed 1 500 workers across the country — surpassing its original target of 1 000. NEFCISA is delivered through a network of 20 host organisations spanning five provinces, who are actively hosting participants and contributing to work for the common good across South Africa's creative and cultural industries. Key Objectives: Support employment and entrepreneurship in the creative industries. Offer skills development and training programmes. Foster partnerships between public and private creative sectors. Promote South African creativity at both provincial and national levels Foster community development through social contribution.

ACCES
ACCES

ACCES Conference and Showcase Festival is Africa's leading music industry gathering, bringing together the people shaping the future of the continent's music business. Artists, entrepreneurs, executives, investors, policymakers and cultural leaders from across Africa and around the world come to ACCES to build partnerships, exchange ideas, discover talent and create new business opportunities. Since its launch in 2017, ACCES has become the continent's premier platform for professional exchange and music market development. Combining a high-level conference with a curated showcase festival, networking, exhibitions and industry programmes, ACCES offers a unique space where creativity meets business and where African music connects with the global industry.

Gender@Work
Gender@Work

Music In Africa Gender @ Work is a three-year training programme aimed at upskilling and increasing the participation of female professionals in the African music sector. Launched by the Music In Africa Foundation (MIAF) in April 2019, the programme is connected to the MIAF’s ACCES music conference – a pan-African event held in a different African country every year. This connection enables the programme to reach new participants in a different African country every year. The programme marks the beginning of a more concerted effort by the Foundation to support the participation and inclusion of women in all facets of its programmes and the music sector in Africa as a whole. Over the three years, the programme will aim to address gender imbalances in the sector through training, lobbying, facilitating knowledge exchange and dialogues that foster the interest of women. The broader objectives of the programme are to: Provide industry training for women on critical music industry skills, focusing on: Stage management Electronic music production and recording Music business management Technical knowledge Provide an opportunity for both professional and aspiring women to benefit from the Music In Africa network and its broad range of activities in 2019, 2020 and 2021. Provide a solution-based platform in the form of a round table at ACCES with a view to identify challenges, discuss opportunities and lobby for the interests of female practitioners. Offer participants the opportunity to benefit from programmes offered by MIAF’s partners. Increase access to educational materials. Integrate participants in the broader ACCES programme to maximise experience and exposure to the industry. Record and present training materials on the www.musicinafrica.net, including but not limited to tutorials, templates and other best-practice materials. Communicate women-based themes that support the initiatives and messages of the programme. MAIN TRAINING ACTIVITIES Training in first country (Ghana): In the first year, participants will be trained on all aspects of stage management by a team of experienced stage managers from 10 to 17 November 2019. The programme will offer robust classroom training as well as practical, hands-on training in which participants will also be given the opportunity to manage various aspects of the ACCES performance programme. Training in second country: The second training iteration will take place at ACCES 2020 when the programme will diversify its course to include music production lessons and training on other music business topics. A round-table platform will also be introduced to coincide with the ACCES programme. Training in third country: The third training iteration will take place at ACCES 2021 in a different country, offering an advanced course. HOW DO YOU GET INVOLVED?  As a participant, facilitator or trainer: The programme enrolls up to 12 trainees every year. All opportunities are advertised publicly on this website, and will be added to this page. Please keep checking this page for new calls (below under UPDATES & CURRENT OPPORTUNITIES). As a partner Please contact Claire Metais at [email protected]. APPLY The call for applications for 2020 will be announced soon. The Music In Africa Gender @ Work programme is made possible with the support of the Prince Claus Fund, Siemens Stiftung and Goethe-Institut.

Sound Connects Fund
Sound Connects Fund

For cultural and creative practitioners and organisations operating in southern Africa, access to funding remains a major challenge. The COVID-19 pandemic has also had a massive impact on government policy, spending and the economy in general, and has seen spending on culture being moved further down the list of priorities. Further, the cultural and creative industries repeatedly cite four main areas where investment is needed for growth, which are increased visibility, mobility including access to new markets, finance and support structures.

Instrument Building And Repair Project
Instrument Building And Repair Project

Experience the Vibrations African Instruments Exhibition online in 3D

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Morumokwano and linguistic turf wars in South African hip-hop

Home/Non classé/Morumokwano and linguistic turf wars in South African hip-hop

When the now famous Motswako sub-genre started in the late 1990s by acts such as Baphixile, it included a mixture of languages, namely Setswana, Sepedi and English and to some extent isiZulu. But Setswana rappers have since dominated the sub-genre and claimed it as theirs. A prominent Motswako rapper, Khuli Chana, even asserted on his song ‘Wannabeez’ that some rappers want to be part of Motswako, presumably because of its fame, and alleged that they are not welcome.

Although other roleplayers such as DJ Lemonka, who featured Sepedi rappers Space Munna and P.O. Box in his Motswako Tape 2 mixtape, understand the original meaning of Motswako, the damage is already done, and any rapper who doesn’t rap in Setswana and attempts to categorise his/her music under the umbrella of Motswako will forever be classified as a Motswako wannabe.

Video: DJ Lemonka ft. Spacemunna PO Box – I’m A King

Morumokwano (also known as Morumo Rap) is a style of hip-hop music that evolved from Motswako in the early 2000, in South Africa. Sepedi rappers became discontent with Setswana domination of Motswako and stopped calling their music by that name. Initially known as Sepedi/Pedi Rap due to the exclusive usage of Sepedi language, RATASepedi coined the name ‘Morumokwano’ in 2013. It is typified by Sepedi rap lyrics which usually consist of proverbs, idioms, figures of speech, rhyme, pun and other creative forms of Sepedi language, layered on a steady beat.

Etymology: The term Morumokwano was borrowed from poetic term by the same name which means rhyme in Sepedi language. The use of the term signifies the commitment to Sepedi language promotion.

Origin of Morumokwano

The origin of Morumokwano is attributed to Mr Blax Myth, member of a hip-hop group Baphixile, who are recognised as the pioneers of Motswako. They were the first act to commercially release a full length Motswako album, Ngoma in 1998. Mr Blax Myth became the first rapper to rap in Sepedi language when together with Prof, another member of Baphixile who rapped in Setswana, they released their debut single ‘Ngoma’ in 1998.

In 2004 a duo Kepsool & Mash, under the name Thy Kingdom Come, released a classic track, ‘Lengwalo. It was the first full Sepedi rap song with a story telling theme that depicted a young boy (Molatelo) writing a later to his father (Moloto), explaining how difficult life is at home without him and his support and his father writing back clarifying certain issues underlying his absence.

Then Lahzee released ‘The Rebel MC through Hype Magazine’s mixtape Hype Sessions in 2005. The same year Mokhure released Hlaba Lešata, and then Jam Square featured DJ Skrfl in the 2006 hit Mababy waka. 2007 saw Renovator Lepara dropping ‘Fast Move’. The following year Lekkersweet came to the picture with ‘Dlisa’, as did X Man who released ‘Hip and Happening’. In 2009 Showcase Showza released his first single ‘Afrika Bowa off his album Mahlomola le Matshwenyego.

The following year, Mohlolo released Sekgosese Dream Episode I. His first single was ‘Dikgoši, which was also re-introduced as a deluxe edition in his second album, Sekgosese Dream Episode II – The X Files, which went on to scoop the Best Vernacular Hip-Hop Album in the 2012 South African Traditional Music Awards (SATMA). In the year 2011, Makzi, who later changed his stage name to Pedi Katse, released ‘Sushi, Mopapa featured Mokgaga on Hip-hop Ya Mampela, and Papzito dropped ‘Kea ba Namela’.

Rise in Popularity and Evolution

The year 2012 proved to be a turning point for Morumokwano. A lot of artists released projects (EPs, LPs & Mixtapes), most notably was Mohlolo’s second album Sekgosese Dream Episode II – The X Files, which went on to win the SATMA in the category Best Vernacular Hip-hop Album. He was subsequently invited to perform in Bulgaria (Europe) the following year. 2012 was also an inaugural year for the South African Hip-Hop Awards (SAHHA). Mcdonald ‘Chocos’ Mpogeng (DJ, presenter & producer at Sekhukhune FM) was crowned King of Limpopo for the work he has done organising events (such as Hip-hop in the Park) and promoting young talent in the province. His show, ‘The Trail Blazer’, was instrumental in promoting Morumokwano, especially its battle division popularly known as ‘Spora Rap’, which was started by rappers such as P Mopastola and AT Lenyora.

2013 became the year of Morumokwano. That’s the year RATASepedi coined the name after releasing his self-titled hit, ‘RATASepedi’. It is also the year that a veteran rapper, Spaceman who changed his moniker to SpaceMunna released the famous Limpopo Mixtape, which featured a lot of upcoming Morumokwano rappers such as King Solomon II  (‘Tla ka Matla’), Lekkersweet (‘Molobedu wa Swagga’ remix), Vic Mash (‘Ayeye), IceMan and Dezry (‘Limpopo’), Rise and Madin (‘One of those Days’), to name but a few.

The project, accompanied by a DVD, showcased the vast talent and challenges rappers faced in Limpopo province. The DVD was nicknamed ‘LimpHop’, and inspired the name of the BEM LimHop Awards, formed later that year. The mixtape, led by his hit single ‘I’m a King’ featuring P.O. Box and Mama Rose, went on to be nominated for Best Mixtape category in the SAHHA’s later that year. He was also nominated in the Best Male and King of Limpopo categories, and won the latter. Also that year, Lekkersweet received a nomination for Best Vernacular Hip-Hop Album in the SATMAs.

Raymond Shihawu, one of the nominees for King of Limpopo award in the SAHHAs, through his foundation formed BEM LimHop Awards (BLHA), an annual awards ceremony which recognises and honours rappers, producers, dancers, models and other roleplayers from Limpopo province. Some of Morumokwano rappers nominated include AT Lenyora (Best Rookie & Best Lyricist), BTM (Best Lyricist), Fletcher Mog (Best Single & Best Lyricist), Vic Mash (Best Solo Artist, Best Video & Best Mixtape), Lahzee (Best Single & Best Male) and Generale (Best Lyricist). We also saw new Morumokwano rappers coming through that year. E-Level released ‘Gake Tlale Remix’ (featuring T-Shu, Pantiti, AT Lenyora, Louis CheQBeats and P. Mopastola); while Skillz Max released ‘Huduwa and Tu Sky also joined the movement with ‘Thwantsha.

2014 saw various Morumokwano rappers releasing commercial albums (eg. Mopedy’s Moletangwedi; Renovator Lepara’s Kgomo Ya Mokopane; Fletcher Mog’s Tja Limpopo; and Showcase’s The Journey). Most notable was Showcase Showza, who received multiple nominations (Best Vernacular Hip-Hop Album, Song of the Year and Video of the Year) in the SATMAs. He also collaborated with the legendary Steve Kekana on ‘Lerato la Mmino’. New artists on the block included GVN (with ‘Lehlabula Rap’ ft. Mopapa), Whale Brilo (‘Balabala) and Zub Zero (‘Lenyora), among others.

RATASepedi’s Morumokwano Tape is one of the eagerly awaited releases in 2015 (download ‘Limhop’ off the mixtape here) and a number of Morumokwano artists have vowed to stamp their authority on the mainstream African hip-hop industry this year.


The information contained in this article was obtained through thorough research which included telephonic and electronic interviews with various stakeholders. A questionnaire was also used to gather further info.


Originally published on 17 March 2015 on Africanhiphop.com.

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