When the now famous Motswako sub-genre started in the late 90’s 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 role players such as DJ Lemonka, who featured Sepedi rappers SpaceMunna & 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 & 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, out of his album Mahlomola le Matshwenyego.

Image: Mohlolo

The following year Mohlolo released Sekgosese Dream Episode I. His first single was Dikgoši, which was also reintroduced 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 (EP’s, LP’s & 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 & Dezry – Limpopo Rise and Madin – One of those Days, to name but few.

The project accompanied by a DVD, showcased the vast talent and challenges rappers faced in Limpopo province. The DVD was nick-named 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 & Mama Rose, went on to be nominated for Best Mixtape category in the SAHHAs later that year. He was also nominated for Best Male and King of Limpopo awards, and won the latter. Also that year, Lekkersweet received 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 & other role players 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 & P. Mopastola; Skillz Max released Huduwa and Tu Sky also joined the movement with Thwantsha.

2014 saw various Morumokwano rappers releasing commercial albums (i.e. Mopedy – Moletangwedi, Renovator Lepara – Kgomo Ya Mokopane, Fletcher Mog – Tja Limpopo & Showcase – The Journey). Most notable was Showcase Showza who received multiple nominations (Best Vernacular hip hop Album, Song of the year & 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 – Lehlabula Rap (ft. Mopapa), Whale Brilo – Balabala & 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 vowed to stamp their authority in 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.

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Jägermeister’s ‘Back the Artist’ Music Initiative

Creating Tomorrows Legends – Tonight

Jägermeister is once again giving South African musicians the chance to showcase their talent. Officially launching July 15^th, the ‘Back the Artist’ initiative is one that inspires the youth, helping talented musician’s build strong careers through their artistry and passion.

As Charl Greyling, music and events manager for Jägermeister South Africa says, “Too often music and creativity suffer because of time and funding restraints. Back The Artist is there to remove these elements and help nurture and grow talent. Opportunity comes round once and when it comes knocking at the door, nothing should be in the way of you passion.”

Greyling goes on to say, “Music knows no colour, creed or wealth, and still it connects to each person in a way that makes you feel like that song was written for you.”

Thanks to Jägermeister, musicians are being given the opportunity to share their songs and to connect with South Africa through their music.

The process for entry is simple; musicians simply upload their track to the Back the Artist website http://backtheartist.co.za/ and a voting process begins. The winner of the competition will get their single produced by legendary South African South African Hip Hop star, HHP and be rewarded with contracts that encourage and enable career longevity.

Greyling explains“This year we are growing the campaign and taking a more 360 degree approach to the campaign. We have lined up top managers, artists, bands and producers to give the finalists some industry knowledge to assist with their growth and planning for their futures. The reason for this is that we have found that artists and bands often get removed from the planning aspect of their careers, and we want them to know where to focus their efforts and how the industry works.”

The winning artist/band will receive the following:

• A track produced by HHP
• A music video
• A gig at one of SA’s biggest festivals
• Full artist support contract for 1 year by Jägermusic programme
• Band merchandise
• Top 5 will play live at a show in JHB in front of celebrities and music industry’s best
• Top 5 will spend the morning with Top artist to share a bit of knowledge
• Plenty of PR to kick start their career

“I am very excited to see what talent we will be unearthing this year, and even more excited to change the life of the next winning artist or band.” Charl says. Watch this space! Follow the competition here: http://backtheartist.co.za/.

Tweet or Facebook with the hashtag #backtheartist2015 and help launch tomorrows legends- tonight!

For full details,please go here: BTA Press Kit

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Alpha Royce, previously known as ‘Beey Royce,’ is a 21 year old artist from Soweto. The name change marks a significant change in the artist’s life as she is in her final year of a BA degree in Media Studies at WITS University and plans to focus on music fulltime.

“Beta” is the second letter of the Greek alphabet and “Alpha” is the first letter of the Greek Alphabet. The move from ”Beey(ta)” to “Alpha” signifies a new beginning and a transition musically where her art has progressed to the point where she feels she is ready to make a significant impact in the music industry. She went from second (Beey) to being the first or the head (Alpha) and a strong character who is able to convey emotion in her music through the use of different types of subject matter which makes her relatable as well as the versatility and uniqueness of her sound which combines mainly R&B, hip hop & minor elements of other genres such as the iconic synths present within disco music.

The artist refrains from showing her face in her pictures and says “it’s because I want people to focus on the art, not how I look. I think I also like being mysterious. It’s also a play on my name ‘Alpha,’ nobody really knows what happened at the beginning of time or what it looked like. If you want to see my face, watch my vlog on YouTube REAL ONES SA,” she says.

Alpha Royce’s first release of the year “No Love” is followed by a song called “Without You.” In No Love, she speaks about her experiences with depression and how abandoned she feels by those around her. “Without You” is the perfect follow up as it focuses on being whole without someone you thought you could never live without. The song is short yet very empowering (particularly for women) as it sends the message that the only person one needs is themselves and that one should always believe in what they do. Alpha Royce is anticipating her first project which drops next year in 2017. “I was supposed to drop in 2016, but I was still finding my sound,” she says. Alpha Royce adds that she would rather take time to craft a unique sound than rush to release a sub-par project. She is ALPHA, after-all.

For more information:

Bathabile Modiba (Alpha Royce)
Soundcloud: soundcloud.com/hernameisalpha
Email: alphamuzik.za@gmail.com
Twitter & Instagram: @hernameisalpha
Phone: +27626520824
Postal: 3158 Naledi Ext
P.O. Kwa Xuma
1868 Soweto
South Africa

This post Alpha Royce drops new release Without You appeared first on Africanhiphop.

Rick Ross is not the first American hip hop artist to enjoy touring the African continent; ever since the late eighties when LL Cool J performed in Abidjan there’s been the occasional motherland trip for a major artist, and in recent years a steady stream of emcees, from the big names to the underground, have been setting foot in Africa. Where ‘Africa’ used to invoke fear of sickness, war and crime in the hearts of the aspiring traveling emcee, nowadays many artists have a more reassuring image of the continent. Also, there’s more cash and infrastructure available facilitating a US artist’s tour, whether it’s a president looking to brush up his political campaign, a middle man connecting local promoters and US based rappers, or NGO’s inviting a well known emcee to visit their local projects.

Back in the day, LL Cool J (seen in the picture as he received the honorary title of Chief Kwasi Achi-Brou in Ivory Coast in 1988), Doug E Fresh and Stetsasonic used to write rhymes about how their travels inspired them and about the reconnection with their long lost African kin. Nowadays, western artists document their tours in photos, via social media and increasingly often in music videos. Just this week, Solange (Beyonce’s sister) released a video shot on the Cape Flats (Cape Town), in April the Very Best came with ‘Yoshua Alikuti‘, shot in the streets of Nairobi, and last month we saw the much awaited Nigerian version of Rick Ross’ ‘Hold me back’.

One thing these videos have in common is that ‘Africa’ is not just an accidental setting for a video telling a universal story. Instead, the location seems carefully picked and there’s no mistaking that this is the hood. Why would a musician travel for thousands of miles only to end up shooting a video among the grimiest backdrops and the have-nots of society? It’s a question that many Nigerians have been asking after seeing the result of Rick Ross’ efforts on the bustling Sura market in Obalende (Lagos) where he involved the audience watching him stroll around, paying them with groceries after the shoot.

[youtube]http://www.youtube.com/watch?v=xu60JoFAN78[/youtube]

The discussion has a similar tone to when BBC shot a documentary series called ‘Welcome to Lagos’ which painted the lives of some of Lagos’ poorest inhabitants. There was hardly a sign of a middle class or a lifestyle away from extreme poverty, which infuriated Nigerians fed up with the one-sided picture existing of their country abroad. One of them was author Wole Soyinka who was quoted as saying: “There was no sense of Lagos as what it is – a modern African state. What we had was jaundiced and extremely patronising. It was saying ‘Oh, look at these people who can make a living from the pit of degradation’.” Rapper M.I. joins Soyinka: ‘It burns you, does it not? To have some foreigner- who knows nothing of your history and pain, of the stories that flow within your blood- to have this foreigner come in and tell your story?‘
Other voices counter that the poor still amount to the majority of Lagos inhabitants, and their story is not often heard, while the middle class does have the tools (and internet access) to be heard.

So, are we looking at a genuine attempt by western artists to embrace the ‘couleur locale’? Do they know enough about the society that they are showing in their videos or are they relying on stereotypes? Our bet is that most artists are actually making an effort, but many videos are more of a reflection of all they  know of urban Africa. This doesn’t necessarily paint a realistic and balanced picture, even though they end up representing an entire country via popular culture. Solange actually had been researching African culture, music and fashion for a while before she decided to involve Congolese sapeurs in a video shot in Cape Town.

La Sape (Congolese dandy fashion style) may be easy to find in Kinshasa but in South Africa the ‘fashionistas’ had to be tracked down and driven down to Cape Town. In fact, the Sape and South Africa were the only things that Solange knew for sure she wanted in her video: “We really didn’t have a real firm concept in place. It was sort of a grab a camera and let’s go moment. I knew I wanted to capture a couple things: the vibe of our friendship and all of the crazy escapades we’ve gotten ourselves into all over the world, and the abstract and elegant Le Sape Society.”

[youtube]http://www.youtube.com/watch?v=Hy9W_mrY_Vk[/youtube]

The term ‘slum tourism’ has been coined before. Shooting videos in the ghetto is nothing new and it has been part of the culture of hip hop throughout its history, but some of the visual language used in recent videos like Rick Ross’ is related to a more recent international fascination with the lifestyles, culture and dance of people living at the bottom of society, a trend popularized via blogs, Youtube music videos and the couture of artists like M.I.A. and Beyonce. Kuduro music and dance from the streets of Angola is now being promoted by an international campaign called ‘Os Kuduristas‘ which kicked off in Amsterdam this week; international fashion brands and magazines keep a close look at what the common man and woman wear in downtown Accra or Nairobi, and the online global bass scene have their ear to the streets all the time, scooping up  new musical developments from the inner city before they even get any local airplay.

One thing is for sure – for most western artists touring the continent, the working class and have-nots of society are not the driving force behind their trips. Instead, it’s often the upcoming middle class and the elite who have the power to finance concerts, or pay the high entrance fees that are charged for shows by foreign artists. American emcees flying over for a performance in an African city often have little chance of interacting with disadvantaged youth unless they really make it a priority.

Rick Ross’ previous connection to African TV audiences was in the ‘Onyinye’ video by P-Square featuring Rick, shot in Miami, Florida and Cape Town and showcasing the upper class lifestyle, luxury yachts and cigars that we have come to know in Naija’s pop music videos. Imagine ‘Hold me back’ would have been a collabo with a Nigerian hip hop group rather than the remake of his own video, wouldn’t it have given Rick that extra bit of legitimacy?

Meanwhile, Rick is touring the motherland like it’s nobody’s business. If you’re in Tanzania this week, catch him in Leaders Club (Kinondoni) on October 6 for the finale of Clouds’ annual Serengeti Fiesta.

[youtube]http://www.youtube.com/watch?v=Ec95lwMPTGc[/youtube]