Over the Easter Weekend of 2009 the Afro-gospel album Amakholwa-Believers was recorded in Midrand, Johannesburg.
Amakholwa is a final testament, farewell to friends, family and followers and send-off album from the sound sensation, Busi Mhlongo. Recorded 14 months before her death it is a conversation with her Maker and her Ancestors to welcome her home with warmth.
Having first been diagnosed with cervix cancer in 1973, Busi is a survivor, but during the recordings she is aware that the time of her physical presence on earth is limited. Cancer had returned five years before. Surgery and extensive chemotherapy had not stopped it. She is dying.
“For those in the studio, it was a painful spectacle. We all cried,” remembered producer Vusi Mchunu.
Yet it is also a light-hearted time. Busi Mhlongo is ecstatic to be producer at last on her own work!
In a career singing and recording a wide and varied repertoire of pop, jazz and funk, mbaqanga, maskanda and marabi, she had never until that moment produced her own recordings. She had always wanted to record the Amahubo songs of her Zulu cultural roots.
The compositions were prepared at the studio of Steve Dyer. Busi stays for weeks creating and laying the voices. It is a very peaceful, farming, small holdings section of Pretoria West. She is adopted by the family and becomes Granny Gogo to the youngest daughter.
Busi signals her direction by opening with the Methodist/Wesleyan traditional song, “Wahazulwa.” The song refers to the Stations of the Cross of Jesus Christ.
The ten songs of the album are a searingly honest testimony. A lived tension between the sadness of death and the joy of African music. The music provides a deepening insight to the spiritual source of music.
In a career spanning 45 years. Busi had performed as vocalist, musical, variety theatre and comedy actress and band leader. She had ignited audiences, friends and family on three continents. A Gallo recording star at 19 with My Boy Lollypop. A star performer on the South African Jazz and theatre stages of the 1960s. A superstar on the soul, highlife and world music stages of Portugal, UK, Canada and Holland.
She crosses multiple bridges of troubled waters to overcome all odds. Racism of apartheid, patriarchy in the music industry, exploitation of producers promoters, even a gambling addiction. She is complete.
Busi Mhlongo dies on June 15 2010 at the Chief Albert Luthuli Hospital in Durban. She is posthumously awarded the recipient of Order of Ikhamanga in Silver and PhD Music degree. It seems to confirm her consistent criticism that the South Africa music industry did not recognize and afford her, her rightful status.
At the age of 62 she is gone too soon. “The final track on the album “Amagugu”, becomes an instant hit as the new hymn to comfort the departed,” recalled Vusi.
Her music is embraced and interpreted anew by generations of South African musicians. Thandiswa Mazwai, Zamajobe Sithole, Simphiwe Dana, Siphokazi Marwaqana, Suthukazi Arosi, DJ Black Coffee and Dr Nduduzo Makhatini. Her legacy as the teacher of musicians is cemented.
iMbizo yamaKhono is a gathering of the arts with the intention of conscious intergenerational skills transfer in music and heritage. Since 2020, iMbizo yamaKhono has released 26 training modules published as 4 seasons of documentary episodes and workbooks.
The combination of audio-visual documentaries and engaging workbooks is a new innovation for music and heritage learning. A strong demand for quality free Afrocentric music and heritage education has necessitated further collaborations and partnerships. Institutions and businesses are supporting activations at community art centres throughout the year.
iMbizo yamaKhono is suitable to all ages. The resources are highly relevant to music and heritage syllabus grades 10 -12 and are also successfully used as a bridging courses and career growth path for young professionals.
Each one teach one
A mentorship approach provides for learning in technical, composition and general knowledge directly from expert arts practitioners who have built careers in the creative industry across the entire arts value chain from copyright to performance, entertainment to new technology. The coursework is interactive, participatory, provocative and perfectly suited to schools, community centres and self-learning.
With positive results in mentorship, this is a creative growth path for scholars, students, community centres and the unemployed for emotional, intellectual, spiritual and financial intelligence in the creative economy.
The content of the series is 100% positive.
CO-OPERATION: A gathering of like minds to fill the gaps for archives, community centres, libraries and academies and all suppliers of know-how best practice and grassroots upliftment.
COLLABORATION : The transformational power of the arts in social cohesion and nation building in South Africa is a gift. Inter-generational mentorship provides career growth path for skilled professionals and talented youth.
CO CREATION : An afro-centric approach to creative learning informs a highly artistic visual concept. Rhythm, heartbeat, connections, music and creative freedom combine.New Artistic Creations as long-term solutions for the creative economy.
Izazi Zakithi
The “Izazi Zakhiti” philosophy of Professor Herbert Vilakazi provides an authentic knowledge, philosophy, vision and world view of the African cultural experience thereby protecting the human dignity, freedom, ecology, environment, health and uBuntu way of life.
By shining a light on the unique South African heritage icons, wisdom and knowledge is transferred and cultural memory is preserved. Building bridges between generations in an inter-generational dialogue and exchange enhances learning of the philosophy, economy, spiritual practice and indigenous knowledge of the African musical way.
These works cater for holistic learning through all kinds of Southern African music and heritage with a key focus on Pan Africanism, Afro-futurism, and African Humanity both ancient and modern as pillars for a career in African Arts Culture and Heritage.
The series draws on the indigenous wisdom music styles and instruments of Southern Africa from urban and rural to ritual and modern. The series is inclusive of Southern African philosophies that share a diverse knowledge and appreciation for inclusive human rights, environmental and social justice.
Digital Innovation Award Winner
iMbizo yamaKhono Web Series is published as an open source model with an emphasis on making the tutorials widely accessible and freely available.
The web portal afribeat.com and dedicated youtube channel @jazzuhuru is the e-learning hub providing ease of access to the Web Series and Workbooks.
The capacity building resources include a documentary and written educational task-based learning material which together make up one learning module.
The modules are participative and inclusive and outcomes based. This trains the target markets to learn music and heritage in a smarter way. The combination of internet and online technologies with community practices provides for both inter-personal mentorship and self- learning.
Students are facilitated to generate their own content in the holistic aspects of the resources including new creations, new narratives on South African culture and heritage, oral history and shared opportunities for career growth path. Student generated content is shared online social media and digital engagement hubs for further opportunities in networking, learning and promotion.
Supported by Department of Arts and Culture Presidential Employment Stimulus, iMbizo yamaKhono’s passion for Job Creation. Mentorship, on-the-job training and skills transfer is transforming the creative landscape in Southern Africa.
All titles are available for purchase to all libraries of South Africa at a 30% discount. Price to Dealer less 50%.
All titles are printed at BK Book Binders in Durban and published by afribeat.com – a co-creation portal for the deep musical roots of Africa its context of ancient wisdom and future innovation. Afribeat engages musical communities, practitioners and mentors throughout Africa in fruitful dialogue, joyful collaboration and strong music.
A creative force, a positive influence, 85 year old vocalist Retsi Pule is an evergreen jazz missionary for the power of basic singing skills. A self-taught vocalist, A broad-minded, A positive influence, support Resti on his mission to share basic singing skills in the Eastern Cape
On behalf of Retsi Michael Pule and in association with the International Library of African Music, the album Look into Your Future first recorded in 2020 is being prepared for release worldwide through online platforms. Find this first on Bandcamp.
For those who do not know Retsi – he is more than a jazz vocalist. Enjoy this short biography and anyone interested in going deeper into the research of Eastern Cape Jazz, join with us on our mission for Basic Music Education Skills.
Retsi Pule is more than a jazz vocalist, he is a living bridge between eras. Born on 19th of march 1940 in King William’s town, Retsi Pule has six siblings who are all musically endowed. His genius lies in his refusal to be boxed.
His music is a personal love which no vocal coach ever taught. From lower primary, Retsi developed an interest choral music, graduating this love by testing his agility with the tonic solfa, overlapping into chromatic scales.
In 1956, whilst still studying junior certificate at Forbes Grant secondary school, he embarked on his lifelong mission to share basic singing skills with his fellow choristers. During his early upbringing, Retsi was also a resident of Duncan Village. He began to distinguish himself as a composer. His song “Emdizeni” went on to become a local radio hit and put Retsi on the airwaves.
Retsi is a widely collaborative musician having performed with Mdantsane Band Artistry in Rhythm and Zwelitsha’s “Slo-Foot King Brothers.” His debut album “Sdudla” recorded 1978 became a township jazz anthem.
Retsi’s sound is an integration of choral music with jazz. His attitude is Masakhane – building community. And his frame of mind is positive.
Known as Eastern Cape’s soulful jazz singer, Retsi is sharing basic singing skills and building community in the Eastern Cape. This inter-generational music sharing is a hallmark of Eastern Cape Jazz from the golden 50s in Duncan Village to the heydays of Port Elisabeth in the 70s, Retsi’s journey has ignited the fans and future generations of the Eastern Cape Ginsberg, Mdantsane, Duncan Village and Zwelitsha.
Schools in the Eastern Cape still treat choir as sacred ground, a tradition Retsi upholds through mentoring young singers today . Retsi has an infectious positivity and legendary self-discipline. His intuition is his guide to sustaining creativity in the evolving world around him.
His first port of call is good health. Naturally that should encompass healthy living habits such as a big NO to all alcoholic beverages whose end – results cause an involuntarily break down of ones’ behavioural inhibitions inducing misjudgement in the brain patterns.
He engages in consistent moderate physical exercises, engaging in daily breathing exercises. He has a healthy and healthy eight hourly sleep pattern.
“My passion for sharing and learning is to impart a god – given talent as a chain reaction to deserving fellow – gifted up and coming musicians within our communities,” he says.
Bra Retsi Pule is recognized by local and provincial government bodies with a lifetime achiever award for his endless contribution in developing the youth and is hereby nominated for national recognition.
30/12/2024 Breaking News that Claude Gauwe has passed away in the early morning in an East London Hospital.
Bra Claude Gawe of Zwelitsha eQonce (former King William’s Town) a legend who deserves to be placed among seats who selflessly assisted other jazz musicians to be where they are.
And so said friend and colleague Ndumiso Sidzatane.
Nudumiso recognises a number of Claude’s distinguished activities:
Claude’s father is the great Mra Ngcukana who is also the father of the great jazz musicians who are the 5 Ngcukana Brothers of Cape Town. He took his mothers name. Faith Gawe was the famous lead singer for the Harlem Swingsters lead by Eric Nomvete. His parents met on stage.
Claude was a talented jazz musician who composed and played his songs. He was a multi instrumentalist, a pianist but was best known as alto saxophone.
His recordings include an incomplete demo album of his own compositions that he recorded in Johannesburg. He played in gigs with his band, Sons In Action on Sundays at Zwelitsha for the past 2 or 3 years, at a popular braai and swill place Zone 10 and performed at the Steve Biko Centre Aluta Restaurant. Claude was featured on the recent Mvuselelo programme at the Steve Biko centre and the photographic workshop and exhibition with Vuyo Giba 06-07 December 2024.
He featured in the recordings of Isandi Close Harmony Group of Zwelitsha, led by bhuti Loxton Nkwentsha album and bhuti Retsi Pule’s In High Spirits album.
“He has a Diploma in Jazz from the erstwhile University of Natal, now UKZN. He studied with luminaries like Zim Ngqawana and Johnny Mekoa of the famous Jazz Ministers. UKZN centre for jazz was headed by Darius Brubeck, the son of Dave Brubeck of the famed song, Take Five.
Claude has also lived in Cape Town and Johannesburg and played with well-known jazz musicians and his family band Ngcukana Brothers. He visited internationally most notably to Netherlands and Dubai. He was a brilliant music educator. He taught at Sterling High School in East London.
Claude has nurtured from childhood another product of Zwelitsha, Andile Yenana, who is a famous jazz pianist today. He played a role to the development of a jazz guitarist who is based in Johannesburg, from Zwelitsha. What is inspiring is that Andile and Phiwe were also educated in the School of Jazz at the University of Natal.”
Claude joins a rich and proud ancestral line in heaven as Professor Peggy Luswazi has reminded us.
She wrote, “John Mbithi, the Kenyan theologian and philosopher wrote that you cannot say you know an African unless you can place him/her in the chain of ancestors or connect him with others. Indeed Claude Gauwe must be close relative of Mxolisi and Phandula Gawe with whom I went to high school at St Matthew’s College in Keiskamahoek. They were the children of Rev Gawe of the Anglican Church, my own father was an Anglican mfundisi those days. Phandula who became Ambassador in UK was in the same class as PAT Matshikiza and I was in the same class as Mxolisi Gawe at age 15.As Frank Sinatra sang….That’s life!!!! APHUMLE NGOXOLO.”
Claude was either 62 or 63 years old when he passed on. Meeting Bra Claude for the first time in Zwelitsha and Ginsberg I experienced a deeply humble man and a true music educator. He shared his joy in music with us so openly and with such warmth. He is in a happier place now, may his musical soul be at peace.
As Henry Scott Holland has written: “Death is nothing at all. It does not count. I have only slipped away into the next room. Nothing has happened. Everything remains exactly as it was. I am I, and you are you, and the old life that we lived so fondly together is untouched, unchanged.”
Celebration of a living legend to take place at the Steve Biko Centre December 7th.
Image of Retsi Pule Captured by Vuyo Giba. The photographer has offered two limited editions framed copies. One is sold to raise, assist and grow the music the image reflects. The other copy is to be printed framed and gifted to Retsi Pule himself.
Retsi Pule is a ‘Living Legend ‘ recognised by the National Department Of Sports Recreation Arts And Culture, from the Eastern Cape Home Of The Legends.
“They call him the “84-year-old soft-toned, lithe-voiced King Williamstown crooner,” writes Vukile Pukwana, the jazz writer from East London .
“He has performed with a galaxy of stars including Tete Mbambisa, Barney Rachabane, Pat Matshikiza, Aubrey Simane, Johnny Mekoa, Early Mabuza and the late Dennis Mpale. Pule’s chug-a-long S’dudla, a single he cut in 1978, was the anthem of many parties in and around East London. The superbly stylish Pule is a dandy jazz cat, actor and composer whose illustrious career spans over five decades, which is no mean feat by showbiz standards. He is a force to be reckoned with in South African contemporary jazz music.”
RETSI PULE resided in Duncan Village with his parents. He came to meet Johnny DYANI during late 50s when he would attend rehearsals at renowned self – taught Jazz pianist Tete MBAMBISAs home. They would rehearse their own repertoire as a close harmony vocal group named ‘ The Four Yanks’ founded by pianist Tete who sang and backed the group on piano. Retsi would be slotted with his own repertoire as a soloist backed by them.
His maternal Grandparents, the XINIWE FAMILY lived in the same ZAULA Street in Ginsburg Location where the late Steve BIKO resided. Pule’s grandfather was African intellectual Paul Xiniwe, one-time owner of Esperance Hotel in King Williamstown who studied at Lovedale. Together with his wife Eleanor Xiniwe née Ndwanya enrolled as part of the African Choir, which was invited to sing before Queen Victoria in Britain around 1891 and had the single-minded proposition to raise funds towards the education of the African child.
Pule periodically lived with the Xiniwe household. His early influences included his uncle Funda Xiniwe, a renowned jazz vocalist.
Pukwana writes: “During the West Bank old location days Funda used to enthral audiences at the then Peacock Hall and Social Centre Hall alongside the likes of acclaimed vocalist Nosisi Ethel Rululu.”
Retsi certainly developed this trait of enthralling audiences. MEC for Rural Development KONTSIWE during her tenure as MEC for arts and culture once remarked that she and some of her very young counterparts would enjoy listening to Pule’s music being aired over the SABC Apartheid segregated RADIO BANTU FM Station, by presenters such as Theo MCINGA, Given NTLEBI, Augustin NONGAUZA & Dambile THUSWA.
Since 2002 Retsi is a driving force for music education in the Eastern Cape. As a classmate to Biko, studying Junior Certificate, Retsi’s historical musical input began with the organising of close – harmony groups at school and in previously disadvantaged BLACK COMMUNITIES in his neighborhood. He grew up moulding and mentoring talented and aspirant singers with ‘BASIC SINGING SKILLS.’
Throughout his illustrious career, he has devoted his life to growing and developing musicians. He has a Diploma in Public Relations and has recently made a documentary on the life and times of composer Allan Mzamo Silinga whose classic Ntyilo Ntyilo continues to be the signature tune of our lives.
Jazz Heritage Photographic Exhibition at the Biko Centre
Ukunyangwa KweTyala – a celebration of Jazz Heritage: Exhibition by Vuyo Giba
The recognition and celebration of the life and times of Retsi Pule is part of a larger narrative celebrating music and art. The vocal performance and workshop will take place within the context of a photographic workshop and exhibitiontitled Ukunyangwa KweTyala by
Vuyo Giba is a film-maker, writer and researcher, Giba’s works exemplify the the collaborative spirit of Eastern Cape musicians. As part of an international initiative called Women in Jazz Media, Giba seeks to acknowledge and celebrate female photographers, composers, and players globally. Her photographic exhibition celebrates the rich history and heritage of jazz music in the Eastern Cape, showcasing the influential artists and the vibrant culture that has shaped this musical genre. The featured artworks celebrate the Eastern Cape’s jazz heritage and its prominent musicians.
Eastern Cape is a breeding ground for innovative musicians, leaders and fine artists who have drawn inspiration from the region’s diverse cultural heritage. The vibrant legacy of arts and culture was at its height in the 1950s. World class musicians hailed from all of the region such as the famous Matshikiza Brothers, Nomvete and international legends Dudu Pukwana, Pinise Saul and of course Johnny Dyani who made a mark on the world stage during the anti-apartheid struggle.
Unique jazz and creative arts workshop for 30 new Eastern Cape talents
In the Eastern Cape Jazz is a growing legacy brand for the region. Aluta Continua!!! is now a permanent feature of the Eastern Cape Jazz landscape and building the foundation for cultural exchange with positive reach and impact.
Over the last two years, audiences in the Eastern Cape have witnessed the extraordinary return to Duncan Village of the legacy of the prodigal son – Johnny Mbizo Dyani. Composer of the landmark “Song for Biko,” album (1979), he was a hero of the solidarity movement in exile. Dyani co-founded Jazz Against Apartheid event in Germany in 1985. The event continued after his death with over 100 concerts on three continents showing the longevity of the initiative. It was the multi-culturalism of music that helped destroy apartheid.
Today his legacy lives on as a way-shower for IMVUSELELO and the awakening to the cultural riches of the Eastern Cape.
Former South African exile in Germany and rural development practitioner, Professor Peggy Luswazi from Mthatha now 85 years of age, has motivated for many years for the continuation of the Eastern Cape Germany co-operation. Luswazi enjoyed a direct interaction with the Jazz Against Apartheid project during the many active years of study and work in Berlin, at the peak of the anti-apartheid struggle.
She is the founder of the ILIMA LABANTU movement in Mthatha which aspires to contribute to the Reconstruction and Development of post-apartheid South Africa with special focus on the rural areas. A point of focus for her is establishing a system and chain of art academies in the Eastern Cape.
We’re excited to announce an exclusive skills transfer workshop celebrating the holistic practices of jazz. This immersive experience spans from jazz vocals and instrumentals to fine art and photography, designed to elevate and inspire local talent. Inform your local community centres, arts, academies, emerging and professional musicians. This is the opportunity to network, engage, activate and empower in a uniquely Eastern Cape fusion of entertainment and inner-attainment.
Learn, connect, and grow within the vibrant jazz community in a series of workshops, open discussions, interviews and masterclasses. A brilliant group of facilitators continue the inter-generational skills transfer whilst creating new experiences, transformative opportunities and well documented resources. Whilst building bridges between the gaps in history, memory, culture and economy, there is contribution to the holistic elevation of the Eastern Cape jazz and creative arts sector.
The third annual Eastern Cape Jazz Heritage gathering at the Steve Biko Centre captures the essence of the music of the region, and serves as a testament to the vital role music plays in maintaining the greatness of Eastern Cape as a home of future leaders and legends.
Finer Details:
Date: December 7th 2024
Times:
11AM – 1PM. Vocal and photographic workshops
2PM – 6PM Exhibition, performances and open dialogues …
Talent Applications Open: 30 music and creativity talents will be given the opportunity to join these interactive and participative masterclasses.If you’re a passionate musician, artist, or photographer based in the Eastern Cape, send a short video to jazzuhuru@gmail.com or Whatsapp to +27 72 956 8134.
Closing Date for Applications : November 24, 2024.
Open discussions: Hybrid online and in person discussions take place November 2024 until the event date of December 7th.
Music: Retsi Pule in collaboration with vocalists Siphokazi Ngxokolo-Bili and Neahtyah Mbuyazwe and pianist Sinethemba Bili.
Sponsors: Eastern Cape Development Corporation, Steve Biko Centre, Birkview Lodge
Website: jazzagainstapartheid.com
Prints for sale: Giba’s works such as “Trumpet in Motion,” Fingers of Feya Faku “Saxophone Soul,” Portrait of Patrick Pasha “Bass Lines,” an image of Lex Futshane and
“Ballet & Jazz, A Harmonious Dance” and “Portrait of Tete Mbambisa.” Works range in price from 5000 – 6000.
Limited Edition on Sale: A limited 2024 signed ad framed print of Retsi Pule at work is on sale for R10 000.
Books, CDs and DVDs for sale: Some of the works on sale include the Story of South African Jazz (R300 each), Johnny iMbizo Dyani Songbook (R450) and the iMbizo yamaKhono music education series (R150 each).
ACT Thuthukisani Atologa Programme 2024 announced graduates
The ACT Thuthukisani Programme was an amazing commitment of time and energy for each and everyone in the Music and Heritage Education NPC team. The shared passion for creativity, hard work and upskilling unique arts enterprises has made a powerful impact and growth path for sustainable arts practices in South Africa.
Music and Heritage Education NPC as a service provider in the education field is announced as one of the top 30 organisations. MHE will now be moving forward to the next phase of the ACT Thuthukisani Programme, the Investor Readiness Programme.
The goal of this Programme is to develop essential skills and insights to attract potential investors, build sustainable financial practices within 90-days.
Music and Heritage Education NPC, Mondli Art Projects, Mogale Pictures Story Team Pty Ltd, Izithethe Development Project, Nokwe Creative Development Foundation, Jikela Studios, Make Music Matter (M.M.M), House of Liezee Pty Ltd, Art with Heart, Digging Thoughts, Kwantu Writers, Love Seed Foundation, VASTEC TRADING ENTERPRISE, Bang Entertainment, Bin-Fest, 1 Old Note, 20 Future Entertainment Company (Pty) Ltd., Cyan Development Concepts, Holla Bloem, Mzansi Arts Development Ensemble, Zuport, Mjinko est, Monx Empyrean, Fimash Projects, Eagles Empowerment Group Trading as Our Voice, Content Designers, Expression Culture Academy 190-319 NPO, Owami Lifestyle Productions cc, Eden, Visual Verbal Expression participate in theInvestor Readiness Program.
This 3-week phase will delve into preparing you for readiness to launch in 90x days, with the following components being explored
The Johannesburg Holocaust & Genocide Centre hosted the dialogue session, concert and workshop for “Beyond Exile” in December 2023. For the first time an exploration of the history of exile, resistance in the past and its relation to contemporary society and its connection to the themes of moral choices, human rights and social activism was explored.
New resources, new friendships and new collaborations were formed. Through the Jazz Against Apartheid concerts of 2022-2023, the legacy of outstanding composer Johnny Dyani and that era of artists and leaders of the Anti-Apartheid was preserved and promoted.
But in terms of buried cultural memory, this was only the tip of the iceberg. Jazz is a presentation of a uniquely South African freedom culture and is a bridge between economies, geographies and histories.
You would not believe how far South Africa has fallen behind in terms of access to educational resources and opportunities. The all important lessons from African cosmology, folklore, stories, songs and dances need to be preserved, restored, documented, archived and promoted.
We are very grateful to the galleries, museums, schools, community centres, carnivals, festivals, institutions, organisations and free associations who are dedicated to both preserving and restoring cultural memory and providing platforms for new approaches to creativity, skills and knowledge transfer in all its expressions. Thank you
To meet this demand we formed Music & Heritage Education NPC to provide innovative and digital solutions for new collaborations and new resources.
I am a Durban born musician, author and educator. I have written extensively over the last 20 years producing multiple albums, books, syllabus materials and documentaries. The Searching for Memory and Justice Conference is significant to the restoration work required for South African Creative and Cultural Memory.
Today I wish to introduce you to a group of musicians who have come together especially for this show to help showcase the important cultural memory being eroded in our very location.
From Soweto is Octavia Rachabane. She started at the age of 12 singing in school concerts. Her father the late saxophonist Barney Rachabane, founder of the Alexandria All-Stars Pennywhistlers and performer on Graceland with Paul Simon. This is a legacy that although preserved in a documentary and an album that went to world number one in America, remains a piece of history with no significant memorialisation in this country.
From Mamelodi comes the Mogale brothers. The mountain range Magaliesberg to the North is named after the Mogale family. Mogale is a musical family from Mamelodi outside Pretoria.
Jesse holds a BSc (Chemistry) degree from the University of Witwatersrand. He traded the periodic table for music notes and today provides the much-needed music education to disadvantaged black children in Mamelodi through CAFCA (Committed Artists For Cultural Advancement). This is a community based, not-for-profit music education organization.
Moss Mogale grew-up during the days of Marabi and Kwela music, dominated by the penny whistle wizards of the early sixties. He comes from a family and an environment that was rich with indigenous multicultural traditional music and learnt from two of the most accomplished Marabi guitarists and penny whistle musicians of the time, the late Frans Mothoka “Matascar” Maake and Charlie Thobejane,. Ernest Mothle, Phillip Tabane, Ernest Cole and Geoff Mphakathi were inspirations to Moss as he frmed his professional band, The Moss Mogale Unit.
And on percussion is Mosoeu Ketlele. He is a musician, actor, storyteller, teacher, puppet artist and a well-rounded multi-talented creative. Grandson of a sangoma, Mosoeu is a proponent of traditional musical instrument making and playing. Mosoeu makes plays and teachers a variety of South African Traditional instruments such as Setorotoro, Umakhoyane, Urhadi, Mtshingo, Exxhara, Lebhalabhala, Segankula and Traditional Drums.
An inspirational Biographical documentary about an iconic Zulu vocalist who fused world music with the spiritual calling of the Sangoma (healer). The late great Busi Mhlongo is a revolutionary singer, unique for opening the doorways between physical and spiritual. Regardless of how much you know about her and her music, the documentary provides a profound insight into the inter-relationship between music and spirituality of Zulu Cosmology.
The project has already received much traction with development support from the National Film Video Foundation and invitation to attend the Durban Film Mart 2024. Produced by Sausage Film Company, written by musician and author of To the Peace on Earth, Struan Douglas, the Busi Mhlongo documentary draws on the research and interviews with music journalists Giselle Turner, Bongani Madonda, Henk Tummers , music experts Dr Nduduzo Makhatini, Dr Kathryn Olsen, Dr Madala Kunene as well as multiple collaborators, colleagues, friends and family. The documentary is co-directed by Spirits of Africa series writer and director, Netherlands and Portugal based Ton Van der Lee. The script is edited by Sechabe Morajele with an Outline by Vusi Mchunu.
Using never-before-heard recordings, rare archival footage and her best-known songs, the documentary is like a detective’s journey through lost tapes, archives and interviews, lovers, friends and relatives that have survived to not only address the missing chapters of her impact in Portugal, Canada Holland and the UK, but also provide a re-awakening to her musical influence.
The documentary follows the three-act structure drawing on the archetypal journey of the sangoma through three stages of life; UBIZO – the calling to music, UKUVUMA surrender and acceptance to the music and UKUTHWASA, the initiation to her gift as a healer through music. An Epilogue provides a fresh and exciting view of the current revival of her music as an inspiration for Afro-futurism.
“When Busi walks on stage in a trance, her body dressed in beads and various modern fashionable Afro-items, her spine a little bent, her shaman staff in hand – she makes the air go still.” Giselle Turner
MUSIC SANGOMA : The Busi Mhlongo Story has produced a research report and outline to date with script, poster and promotional video still to be completed by November 2024. The documentary exposes many of the riches of KZN including Shembe, Maskanda, Instrument Making, Inanda and the Bat Centre and is a co-operation with Holland where Busi spent many years and is fondly remembered to this day. We are wishing to begin production in 2025.
Music and Heritage Education NPC is accepted into ACT Thuthukisani Atologa the programme, a powerful initiative that invests and enables arts businesses from all nine provinces of South Africa.
Music and Heritage Education is built on the uniquely South African philosophy of uBuntu (togetherness). Founded by author Struan Douglas and poet Vusi Mchunu and established on the support of DSAC, NAC, PESP, this vibrant and unique arts education platform is utilised by students, mentors, emerging and established professionals alike in more than a dozen schools in 3 provinces. The resources provide a hybrid model of audio visual music and education co-creation and are a positive initiative in filling the gap in quality Afrocentric music and heritage education in South Africa.
iMbizo yamaKhono is a unique creation and distribution platform solving the historical legacy issue of access to quality free South African education materials. We believe this is a strategic and sustainable integration of artistic creativity with economic prosperity. New resources training modules consisting of education video tutorials are published free online @jazzuhuru. These hybrid-documentary, interview and performance segments accompany detailed and interactive worksheets. These are published in A4 soft cover books and widely available through digital download or print-on-demand. To date 3 volumes of 8 tutorials each are published.
“Our quest to cater for all kinds of S.A. music and heritage, with Pan Africanism, Decolonisation, AfroCentricity and African Humanity as pillars of African creativity that endures and looks ahead,” said co-founder Vusi Mchunu.
The Thuthukisani Atologa Programme is an exciting opportunity to expand the outreach and impact of this programme whilst driving more revenue into the South African creative economy.
Music and Heritage Education Programme director Soweto based vocalist and recording artist Octavia Rachabane and Marketing Director, Diepkloof based vocalist and conscious dance instructor Moratoua are attending the intensive 12-week mentorship programme of bootcamp, masterclasses, opportunity zones, showcases, Business Clinic, excursions, industry immersion, networking opportunities, and an investor readiness program, culminating in the Eagles Ring investor pitch day. The challenge that the Thuthukisani Atologa Programme is to deliver a profitable product within a 90-day period.
We are grateful for this opportunity to unlock the potential of South Africa’s arts network, learn more about the circular economy in arts, culture, heritage and education, whilst growing the reach and impact of this project.
For more information contact music@sausagefilms.co.za
Mac Mckenzie is a profound composer. In my mind’s eye, he is the goema king. There is no musician and composer who expressed the music of Cape Town so well.
In the 1980s there was Mac Mckenzie and the The Genuines. In the 90s there was Namaqua and Cybergriot. In the 00s it was Mac Mckenzie and The Goema Captains of Cape Town and in the New Millennium it was The Mac Mckenzie Friendship Orchestra’s.
Mac McKenzie grew up in a musical home. He was the eldest son of Ma Mac. And Mr Mac. Mr Mac was the banjo player, leader of the Cornwalls carnival troupe and St Secilia Christmas choir.
From a young age, Mac was a revolutionary. His musical purpose was to bring peace and harmony. During Apartheid SA, The Genuines became internationally recognised.
In the New South Africa Mac Mckenzie’s revolutionary instincts were even more heightened. He moved away from bass and to learning and playing the guitar. Composition had become his focus.
Mac’s professional approach was to build his body of work. His compositions could become scored, recorded and performed widely.
His development approach is expressed in the composition “Bridges.” Mac was building bridges between existing composers and orchestra’s. Bridges between future composers and orchestra’s and bridges between the geographies, histories, economies and communities of the world that have not yet united.
Mac’s music is the anti-thesis and the equal and opposite force to all that divides. It is a healing and uniting force.
And in that sense, the maestro as he became known in later life, was way ahead of his time.
Of the great composer, the composer laureate, or the griot, Hugh Tracey described this kind of a person as of a unique guild. Composers know the hearts and minds of the community. And thereby composers become the voice of the community.
The maestro was the kind of a person. His music encapsulated the Cape Town experience. There is the mountain : Hoerikwarra sea mountain. There is the carnival: The natural carnival , A resurrection of the soul, a celebration and transformation. We hear the harmonic minors of the Cape Malay Choir. The sadness is transformed to the joy of the Marching bands and the freedom is expressed Jazz.
I was privileged to know Mac well. From 1999 in Company Gardens leading the New Orleans Cape Malay. To 2003 in Hannover in Amsterdam. I stayed over on the couch at his mum’s home, made a lengthy visit to the church in Darling and lived together here in Chichester Road Westdene.
Mac was always kind and generous, honest and wise. His legacy is endless.
In one sense our journey has ended but in another sense it has only just begun.
In the Goema Symphony, Mac described the journey as beginning with a benediction.
Of the Benediction he wrote:
Before a journey of this significance can be undertaken, there will be a ceremony of obeisance in one form or another, after which the Benediction, or ‘sending off’ as it were, will be performed. It is here we place our scouting, marshalling vanguard, etc, in the best positions to affect our spiritual exodus to our promised lands.
It is wonderful to be together.
Greetings and Gratitude to Mac Mckenzie, fellow Goema Captains Alex Van Heerden, Clement Benny, Robbie Jansen, Vince Colbe and many other friends that have passed through.
Peace and Blessings to the community of friends, family and colleagues.
struan douglas 
