A CONVERSATION WITH SAZISO DLAMINI
Bridging Harmony and the Digital Age
In an era where digital platforms determine who is seen, heard, and paid, South Africa’s traditional artists cannot afford to stand on the sidelines. Isicathamiya — a genre rooted in history, harmony, and resistance — now stands at the intersection of heritage and technology.
In this compelling conversation, Saziso Dlamini shares his vision for preserving and modernising Isicathamiya in a rapidly evolving digital landscape. He speaks about the power of collaboration, the urgency of digital inclusion, and why traditional musicians must embrace streaming platforms not as a threat, but as an extension of their legacy.
Read the full interview to understand why this initiative marks a turning point for Isicathamiya artists — and why the time to act is now.
.jpeg "Photo")
Image Source: Saziso Dlamini
For readers of The Creative Passport Online Media Publication who may not be familiar with your journey, can you introduce yourself and tell us about your work in preserving and promoting Isicathamiya music, particularly through the Isicathamiya Music Awards?
My name is Saziso Dlamini, the Founder of Saziso Infortainment and Projects, the organisation behind the Isicathamiya Music Awards.
I am a cultural practitioner dedicated to preserving, promoting, and modernising Isicathamiya music in South Africa and across the African continent. My work focuses on creating sustainable platforms for traditional groups, especially community-based and township ensembles, to access recognition, training, and performance opportunities.
Through festivals, workshops, mentorship programmes, and digital inclusion initiatives, we aim to ensure that Isicathamiya remains a living heritage that continues to inspire younger generations while maintaining its authenticity and cultural integrity.
Image Source: Spotify
We are living in an era where digital platforms define visibility. From your perspective, how important is it for traditional genres like Isicathamiya to engage with digital distribution and streaming platforms today?
Digital platforms are no longer optional; they are essential.
For traditional genres like Isicathamiya, digital distribution allows the music to move beyond physical performances and local audiences into global spaces.
Streaming platforms provide visibility, documentation, and new revenue opportunities that were previously inaccessible to many traditional artists.
Embracing digital tools ensures that the genre is not only preserved but also discovered by younger audiences and international listeners.
Image Source: DistroKid
The DistroKid–Spotify South Africa initiative is aimed at empowering traditional and independent artists through practical digital training. Why do you believe it was important for Isicathamiya artists to be included in this initiative?
The inclusion of Isicathamiya artists in the DistroKid–Spotify South Africa initiative is critically important because traditional musicians are often excluded from mainstream digital conversations.
This initiative equips artists with the skills and tools to distribute their music globally, monetise their content, and take ownership of their creative work. It ensures that heritage genres are not left behind in the evolving digital economy.
Image Source: SIP
Isicathamiya is deeply rooted in oral tradition, live performance, and communal storytelling. How do we bridge that heritage with algorithm-driven digital platforms without losing authenticity?
Bridging heritage and technology requires intentional balance.
Isicathamiya is rooted in oral storytelling, harmony, and community performance, and these elements must remain central.
Digital platforms should be seen as an archive and amplifier rather than a replacement for tradition. As SIP, we strongly believe in the use of technology, and all our previous workshops have been recorded to ensure inclusivity and accessibility.
Considering that Isicathamiya was founded in KwaZulu-Natal, we make a conscious effort to include practitioners outside the province by recording sessions and sharing digital links, ensuring that no artist is left behind in our movement.
Image Source: SIP
Isicathamiya has historically functioned as a form of protest and social commentary, particularly during apartheid and migrant labour eras. In today’s context, how can digital platforms amplify that legacy globally?
Historically, Isicathamiya has been a powerful voice of resilience, protest, and identity, particularly during the migrant labour and apartheid eras.
Today, digital platforms provide an opportunity to globalise these narratives. Through streaming, documentaries, and digital storytelling, the messages embedded in Isicathamiya can reach international audiences, allowing the genre to continue serving as a cultural and historical archive of African experiences.
Image Source: SIP
From your understanding, why was it necessary for DistroKid and Spotify South Africa to partner on this initiative rather than operate separately? What does collaboration signal about the future of digital music empowerment in South Africa?
The collaboration between DistroKid and Spotify South Africa signals a progressive shift towards inclusive digital empowerment.
Partnerships like these combine distribution expertise with streaming reach, ensuring that artists are not only trained but also positioned within real market systems. This collaboration demonstrates that the future of the South African music industry lies in strategic partnerships that prioritise accessibility, education, and sustainability for independent and traditional artists.
As Saziso Infortainment and Projects, we fully support this initiative and are committed to ensuring that all artists within our database, especially Isicathamiya groups, are included and empowered through this digital transition.
Image Source: SIP
Isicathamiya has already reached international audiences before, but often through limited channels. How can digital distribution reposition South African traditional genres on the global stage today?
Digital distribution has the power to reposition Isicathamiya as a globally competitive traditional genre.
In the past, international exposure was mainly limited to tours and cultural exchanges. Today, artists can release music instantly to global audiences.
With proper metadata, branding, and storytelling, Isicathamiya can stand alongside other world music genres and gain recognition on international playlists, cultural archives, and global streaming platforms.
Image Source: SIP
What are some of the key challenges Isicathamiya musicians currently face — economically, structurally, and digitally — and how might this initiative begin to address them?
Isicathamiya musicians face several challenges, including limited funding, low digital literacy, inadequate recording resources, and minimal industry representation.
Many groups operate informally and rely heavily on live performances as their primary source of income.
This initiative begins to address these structural gaps by providing digital training, access to distribution platforms, and guidance on monetisation, branding, and audience development.
Image Source: SIP
Many traditional musicians may feel intimidated by streaming dashboards, metadata, and analytics. What would you say to artists who feel that digital systems are not for them?
To artists who feel intimidated by streaming dashboards, metadata, and analytics, my message is clear: digital systems are tools, not barriers.
Just as artists learned harmony, choreography, and stage discipline, digital skills can also be learned step by step.
The goal is not to replace tradition, but to empower artists to own their music, track their growth, and generate sustainable income from their creative work.
What is your direct message to Isicathamiya musicians across South Africa about participating in this initiative and embracing digital tools — not as a replacement for tradition, but as an extension of it?
My message to Isicathamiya musicians across South Africa is simple: embrace digital tools as an extension of your heritage, not a threat to it. Your harmonies, stories, and cultural identity deserve a global audience. I also encourage groups to actively include young people in their choirs so that they can adapt to technological changes and easily engage with digital platforms. By participating in this initiative, you are not abandoning tradition; you are preserving it for future generations while unlocking new economic opportunities. The future of Isicathamiya lies in honouring our roots while confidently stepping into the digital world.
Workshops will take place in eThekwini, Johannesburg, Rustenburg/Mafikeng, and Thohoyandou, with one online session for those unable to attend physically.
How to Register
Artists, managers, producers and established musicians are encouraged to register early.
👉 Registration Form:
https://docs.google.com/forms/d/e/1FAIpQLSeVgCZ00SnjMaNxLqTQSrdFdC8OHO_M2p_6WdupyYTJsnb2Lg/viewform?pli=1
📧 Enquiries: unathi-imc@distrokid.com
Only one online workshop will be hosted, making physical attendance particularly valuable.
Comments