GENERAL GUIDELINES
Assessment Criteria
Arrangement/Composition Presentation (Music/Personal) Improvisation/Interpretation 
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STEP1:
RECORD A VIDEO OF YOUR BAND PERFORMING 1 SONG
INTRODUCE THE NAME OF THE BAND+WHERE YOU FROM
VIDEO MUST BE LANDSCAPE+FORMATMPEG4+MUST BE GOOD QUALITY+GOOD AUDIO.
STEP2:
LOG ON TO: WWW.PUISANOLIVE.CO.ZA
DOWNLOAD THE REGISTRATION FORM & FILL IT OUT
(CREATE A FOLDER & PUT YOUR VIDEO & REGISTRATION FORM INSIDE) ZIP FOLDER
STEP3:
CLICK THE SUBMISSION BOX ON THE WEBSITE
UPLOAD YOUR FOLDER (ZIP FILE) & SUBMIT
YOUR FOLDER WILL BE RECEIVED ON OUR SIDE THEN YOU DONE (THIS IS ON 24/7)
RECORD A VIDEO OF YOUR BAND PERFORMING 1 SONG
INTRODUCE THE NAME OF THE BAND+WHERE YOU FROM
VIDEO MUST BE LANDSCAPE+FORMATMPEG4+MUST BE GOOD QUALITY+GOOD AUDIO.
STEP2:
LOG ON TO: WWW.PUISANOLIVE.CO.ZA
DOWNLOAD THE REGISTRATION FORM & FILL IT OUT
(CREATE A FOLDER & PUT YOUR VIDEO & REGISTRATION FORM INSIDE) ZIP FOLDER
STEP3:
CLICK THE SUBMISSION BOX ON THE WEBSITE
UPLOAD YOUR FOLDER (ZIP FILE) & SUBMIT
YOUR FOLDER WILL BE RECEIVED ON OUR SIDE THEN YOU DONE (THIS IS ON 24/7)
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WHAT IS PUISANO LIVE MUSIC?Puisano Live Music Programme is a music programme of the Department focusing on the finest, unsigned and emerging live performing music bands which participate in the auditions and live music showcases across the Province.
The programme uses existing community facilities including jazz taverns and showcase new and established talents. This programme is aligned to the Provincial Government’s Creative Industries Development Framework (CIDF) and Music Strategy. This is a collaborative project between Gauteng Creative Industries Directorate, Municipalities and local music jazz associations and provides vehicle through which the programme is aggressively marketed in communities. |
JUDGING CRITERIA
MUSICALITY
Musicality is emotion. It is an expression. Its the ability to take one's technical knowledge of the instrument and create sounds that reflect the musician's and composer's internal emotional, imaginative, and musical intent. |
PRESENTATION
The way one presents their music and band. its how you appear to the people watching you, this looks at group preparation, order, and group synergy. A "Performer" consists of many different things. For this events, we require both instrumental or vocal performance for judges to deem you a band. |
ORIGINALITY
The factors that go into this can involve instrumentation, timbre, meter, rhythm, phrasing. And it is subjective, with a few objective qualifications. Context plays into this, different genres would have different identifiers of Originality. |
2016 WINNERS
Shef in the kitchen.
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2017 WINNERS
Urban village
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2018 WINNERS
Ark of Arts
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2019 WINNERS
Ncamisa Nqana
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LIVECASTS
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EVENTS & USEFUL TIPS
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LATEST NEWS
5. Sauti Za Busara — Stone Town, Zanzibar | 11th-14th February 2021Taking place in the historical city of Stone Town in Zanzibar, Sauti za Busara is a globally acclaimed festival attracting people from all around the world every year. The event puts local, regional and African music at the heart of promoting economic growth in Zanzibar, organising a yearly conference and showcase, which welcome over 20,000 people over 4 days.
Their conference is dubbed Movers & Shakers, a daily forum for professionals, providing a friendly and informal space to meet, network and exchange ideas. It also provides learning, exchange and employment opportunities in effort of boosting the creative sector on the Island. In its showcase programme, Sauti za Busara, hosts more than 400 artists from 38 different countries, mainly from East Africa. The festival is set to come back next year from 11th to the 14th of February 2021. Government is an enabling agent to ensure that we reach our goals. Grants and funding are helpful but they also create a sense of dependency for the recipients and it’s good to always have an exit strategy, As a member of this current board, we have decided to add an exciting element to Moshito by hosting a music festival on the last day of the conference.READ MORE
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COMING POSTS
HOW TO SET RACK TRACK ON STAGEWinners of the 2017 JUNO Award for Best World Music Album, Okavango African Orchestra brings together traditional music
3 April 2020 
WHAT A SUCCESSFUL SESSIONThe musicians and instruments of Okavango represent a continuum of traditions and cultures from time immemorial to the present
24 MAY 2020 
HOW AFRICANS UNITE IN RECORDING SHOWSIt is increasingly becoming clear that festivals encouraging people to congregate is not the best message for our BIA to be sending
16 JUNE 2020 |
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“Hello,” says trumpeter Sydney Mavundla. “Greetings to you, sitting in your living room there on that red couch!” But Mavundla can’t see his audience. He’s talking through the “fourth wall” – the screen of a digital device – as he live streams a concert by his group from an empty studio out to the online world.
As COVID-19 lockdown clamped down in early 2020, musicians everywhere began turning to live streaming as a potential alternative source of connection with audiences and earnings. But how realistic were those hopes? For South Africa, that’s what Digital Futures? – a just-published snapshot study of live streaming platforms – explored in July of this year.
The survey was commissioned by Concerts SA, a joint South African and Norwegian development project which has, since 2014 and until the disruption of the pandemic, been distributing micro-grants to support hundreds of live music events across South Africa. The project urgently needed practical information about how best to pivot that support in the most useful way. Musicians and venues had abruptly lost all sources of activity and income, leaving many destitute.
Commentators worldwide initially hailed live streaming as a salvation. That view has now been tempered everywhere. Our South African survey data certainly presented a more complex and nuanced picture. Potentials are still universally acknowledged as significant – but, right now, few artists or hosting venues are earning much.
Who we surveyedLive streaming offers significant potential for monetising music performance. Even after lockdowns end, it could extend the life of live-audience shows and their revenue generation, if they are recorded and subsequently streamed. To realise that effectively, though, demands substantial contextual change.
Although live streaming had its early adopters and fast followers in South Africa (the oldest firm we surveyed has existed for ten years), the largest segment of platforms (38%) began business since, and in direct response to, the COVID-19 lockdown. Indeed, we know more initiatives have joined since the survey closed.
Just under 70% of our respondents are small, medium and micro enterprises; the majority have business origins in music management and promotion; others come from all along the music industry value chain. All are genre-agnostic about their offerings. Most adopt a transactional video-on-demand revenue model, where the viewer makes a one-off payment to view a single show.
But because live streaming in South Africa is still an ecosystem very much in formation, ad hoc revenue arrangements for individual events are common. That is even more marked for financing arrangements. There, hybrid models dominate, with a heavy reliance on corporate sponsors, donors and investors. These hybrids account for 54% of artist payments and up to 70% for filming and venue payments.
As COVID-19 lockdown clamped down in early 2020, musicians everywhere began turning to live streaming as a potential alternative source of connection with audiences and earnings. But how realistic were those hopes? For South Africa, that’s what Digital Futures? – a just-published snapshot study of live streaming platforms – explored in July of this year.
The survey was commissioned by Concerts SA, a joint South African and Norwegian development project which has, since 2014 and until the disruption of the pandemic, been distributing micro-grants to support hundreds of live music events across South Africa. The project urgently needed practical information about how best to pivot that support in the most useful way. Musicians and venues had abruptly lost all sources of activity and income, leaving many destitute.
Commentators worldwide initially hailed live streaming as a salvation. That view has now been tempered everywhere. Our South African survey data certainly presented a more complex and nuanced picture. Potentials are still universally acknowledged as significant – but, right now, few artists or hosting venues are earning much.
Who we surveyedLive streaming offers significant potential for monetising music performance. Even after lockdowns end, it could extend the life of live-audience shows and their revenue generation, if they are recorded and subsequently streamed. To realise that effectively, though, demands substantial contextual change.
Although live streaming had its early adopters and fast followers in South Africa (the oldest firm we surveyed has existed for ten years), the largest segment of platforms (38%) began business since, and in direct response to, the COVID-19 lockdown. Indeed, we know more initiatives have joined since the survey closed.
Just under 70% of our respondents are small, medium and micro enterprises; the majority have business origins in music management and promotion; others come from all along the music industry value chain. All are genre-agnostic about their offerings. Most adopt a transactional video-on-demand revenue model, where the viewer makes a one-off payment to view a single show.
But because live streaming in South Africa is still an ecosystem very much in formation, ad hoc revenue arrangements for individual events are common. That is even more marked for financing arrangements. There, hybrid models dominate, with a heavy reliance on corporate sponsors, donors and investors. These hybrids account for 54% of artist payments and up to 70% for filming and venue payments.
