The SABC’s African Language Radio stations are probably an anomaly peculiar to the South African radio industry. Between them, they use nine of the country’s 11 languages.
Last November, the stations enjoyed roughly 70% of radio’s 23,8-million adult listeners, with the largest of these belonging to the Zulu-language Ukhozi fm (5,5-million), followed by the Xhosa- language Umhlobo Wenene (with 4,4- million) and finally, the South Sotho Lesedi fm (3,4-million). The stations are characterised by a community radio ethos, proving extremely popular in regions where indigenous language-speakers are concentrated, as well as in their respective “diasporas” around the country.
They exploit the richness and beauty of their languages, and capitalise in niched genres. It is very difficult for an English station to compete with a presenter who speaks Zulu and plays wedding folk songs on a Saturday morning.
Another interesting feature of these stations is that they stratify listenership by language and thus transcend gender and age. To cater for their diverse audiences the stations have an interesting and unpredictable, incoherent format. It is not unusual to have a Seventies hit followed by a Nineties jam, then a contemporary gospel tune thrown in for good measure.
The drive-time shows are pitched to compete with the English stations, and cater for a young audience. Their evening programming, and especially the Sunday afternoon on Motsweding, Lesedi and Umhlobo Wenene are strictly AC (adult contemporary – not absolute crap).
Many of these stations’ presenters enjoy a cult following that rarely grows beyond their listenership. These include the likes of Lesedi’s Chomane Chomane and Thuso Motaung, Radio Zulu’s late and great Cyril Bongani Mchunu aka Kansas City and the very much alive Bheki “Cosmos” Msane who does the weekday breakfast show.
And yet, for all their popularity, these indigenous language stations remain the poorer cousins of their English counterparts.
They are still subjected to the irritating practice of running translated ad campaigns. Their centralised news sourcing makes them second grade when it comes to presenting news, information and debate on current affairs.
They also tend to exhibit a flagrant disregard for presenting basics. Crashing lyrics, dead air and playing songs from the same artist within the same hour are common occurrences. These are complemented by unstructured links and sloppy back announcing of songs (sometimes telling us a song was a hit in its day, so why play it now?).
The most puzzling feature of these stations is that, for all their apparent lucrativeness, no private licence applicant has applied to broadcast, not even partly, in their respective languages. This is probably due to the prevailing industry mentality and the underestimated buying power and level of sophistication of their audiences. Search across the dial until you find the appropriate language (or that of your co- workers) and be entertained.
Metro fm – you know it by now – has embarked on a minor reshuffle (details at www.metrofm.co.za).
The highlight of these changes is the midday show from 12pm to 3pm, Monday to Friday. The slot has been taken over by one Chillie M. His real name is Jules Masinga and during the auditions for Yfm (you know it too), he is reputed to have shown extensive knowledge of radio with brilliant ideas – and it shows. He enjoyed a brief stint on weekend drive- time at Y before disappearing.
Masinga has now resurfaced to give his old friend at Yfm, Bad Boy T, a run for his money (he is on the same slot). Future Rams (radio audience measurement surveys) will tell a story.
Watch this space.