Ten Obstacles Maskandi Artists Face While Seeking International Recognition
The 150 Maskandi Festival will return in 2024, according to Banzi Production (Pty) Ltd., a well-known music production company in the maskandi music genre. This year’s event is the famous festival’s third continuous year of celebration; it has become an annual highlight of the maskandi music season.
Every year, Banzi Productions (Pty) Ltd. hosts the 150 Maskandi Festival, which aims to promote and improve the artistic abilities of local artists in Ladysmith and the surrounding areas. September 24th is designated as Heritage Day and is also celebrated at this event. The event seeks to promote South Africa’s rich cultural legacy and bring South Africans together via maskandi music.
Besides being a record label that focuses on maskandi music, Banzi Production (Pty) Ltd. is a brand for music production. In order to provide young, gifted musicians a chance to demonstrate their abilities and connect with a larger audience, the label is committed to finding, developing, and supporting them. Uguga Nembewu, a maskandi album published on May 24, 2023, was the work of uMashonisa NKR, a promising emerging artist recently signed to the label.
Reaching a global audience is a huge challenge for the dynamic Maskandi music genre, which has its roots in South African Zulu culture and tradition. Maskandi music faces several obstacles that restrict its global appeal and recognition, despite its distinctive sound and cultural value. We will look at the top ten obstacles Maskandi artists have while trying to reach a worldwide audience in this post, covering things like limited international recognition, cultural context, and linguistic hurdles. We can respect the efforts of Maskandi artists and endeavor to introduce this amazing genre to a larger audience by being aware of these difficulties.
1. Language barriers: Because Maskandi music strongly includes Zulu language and traditional Zulu culture, it might be difficult for non-South African and non-Zulu speakers to properly hear and appreciate the lyrics. As a result, the popularity of the music is limited, and musicians find it challenging to establish a deeper connection with fans around the world. Maskandi music is mostly rooted in isiZulu and other African languages like Xhosa, while some musicians do use English or other languages in their songs.
2. Cultural background: Maskandi music has strong roots in African customs and culture, which could not be popular to listeners abroad. International audiences may find it difficult to completely understand the music’s significance because it is frequently associated with certain cultural activities, habits, and beliefs. The song could become meaningless amusement without the right context and understanding, losing its cultural relevance.
3. Limited worldwide recognition: Maskandi music is not well-known outside of South Africa, which makes it difficult for musicians to obtain recognition globally. However, consumers of global music may be familiar with other popular African genres. More well-known African genres like Afrobeats, Hip Hop, Amapiano, and Highlife frequently eclipse this one. Insufficient global recognition results in less chances for exposure, visiting, and partnership.
4. Opposition from other genres: For worldwide recognition, maskandi music faces off against other well-known genres like house, hip-hop, and Afro-pop. These genres are better known to consumers and have a larger global footprint and marketing organization. These genres compete with maskandi music for listener attention, radio, and streaming.
5. Limited resources: A large number of Maskandi musicians do not have the means or backing to create excellent music and films that can be competitively sold abroad. Maskandi and other specialist styles are frequently favored over stronger selling genres by the infrastructure and financial systems of the South African music industry. Producing high-quality music and visual material is hampered by a lack of financing, studio space, and other resources. This makes it more difficult for the genre to reach a worldwide audience and realize its full potential.
6. Limited availability of worldwide platforms: Maskandi musicians might not be able to get in contact with big record companies, online music distributors, or international music festivals. This restricts their ability to reach audiences throughout the world, specialists in the field, and possible partners. Maskandi music cannot be enjoyed outside of its local community without appropriate platforms.
7. Stereotyping: Maskandi music may not be as appealing to audiences throughout the world who are searching for modern and contemporary sounds because it is frequently regarded as archaic or outdated. It also ignores how the genre has evolved and how creatively it has blended with other genres. The genre’s capacity to draw in new listeners and gain recognition from the global music community is limited by stereotypes.
8. Limited options for collaboration: It’s possible that Maskandi artists won’t get the chance to work with DJs, producers, or other international musicians. Partnerships have the potential to expand the genre’s fan base and provide the music new viewpoints. The growth and exposure of the genre are restricted by a lack of collaborative opportunities.
9. Limited marketing and promotion: It’s possible that Maskandi musicians lack the funds or know-how necessary to properly sell and promote their music to listeners throughout the world. The genre’s visibility and attractiveness to global audiences are limited by a lack of marketing and promotion. To reach a global audience in the current digital era, effective marketing and promotion are essential.
10. Limited online visibility: Maskandi musicians might not have a large internet following, which makes it challenging for listeners throughout the world to find their music. Inadequate social media, websites, and streaming services are examples of a weak digital presence. A solid online presence is essential for growth, engagement, and discovery in the modern digital world.
In broad terms, performers looking to broaden their international reach face substantial obstacles because to the particular cultural background and relatively unknown status of Maskandi music on the international scene. Nonetheless, Maskandi musicians’ toughness and unwavering efforts show the genre’s adaptability and global potential. Maskandi music’s potential and appeal are limited by these obstacles, which make it more difficult for it to become well known. By addressing these issues, we can contribute to the genre’s increased popularity and recognition outside.
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