EXCLUSIVE: Sakhele Mzalazala: The Man Teaching Children What Many Music Legends Learned Too Late

In South Africa’s creative industry, talent has never been the problem.

The country continues to produce some of the most gifted musicians, writers, and performers on the continent—artists whose work has shaped generations and carried the sound of a nation across the world.

Yet behind the applause, the timeless records, and the celebrated careers, there is another story that rarely gets told in the moment it is happening: artists who helped build the industry, but were never taught how to protect what they created.

It is a reality that music rights and business consultant, author, educator, and founder of SM Communications Sakhele Mzalazala has spent years confronting. Working closely within the world of copyright, royalties, and creative ownership, he has repeatedly raised a concern that cuts to the core of the industry’s future—too many creators are entering the system without the knowledge needed to safeguard their work.

For Sakhele, the solution is not only found in fixing the present, but in reshaping the beginning. Through his latest project, What is Copyright? Our Song—a children’s educational book that introduces and teaches copyright, ownership, and creative rights in a simple and engaging way—he is pushing the conversation far earlier than the industry is used to: into childhood itself.

Because if artists are losing control of their work in adulthood, the question becomes unavoidable—what if the real problem started long before the first contract, the first hit, or the first stage?

Now in this exclusive Q&A with Africa Jamz FM News, Sakhele unpacks why he believes copyright education must start in primary school, what continues to go wrong for many artists decades into their careers, and how changing what children learn today could reshape the future of the creative industry.

Here’s what he had to say:

1. Sakhele, after years of watching many South African artists struggle over royalties, ownership and copyright, do you believe the industry’s biggest problem isn’t a lack of talent—but a lack of education? Why?

“Absolutely. South Africa, or rather, let me say Africa, has never suffered from a lack of talent. We have some of the most gifted musicians, composers, producers, and performers in the world. The challenge is that many artists enter the industry understanding how to create music, but not how the business of music works.

“Over the years, I have met countless artists who could fill stadiums, sell records, and influence generations, yet they did not fully understand their IP rights, copyright, publishing rights, royalties, income streams, contracts, ownership of master recordings, or even registration and notifications. When education is missing, talent becomes vulnerable.

“The music industry is both a creative and a business environment. If an artist only understands one side of that equation, they are at risk. Education gives artists the power to make informed decisions, negotiate fairly, and protect the value of their work. That is why I believe education is one of the most important tools we can give any creative person,” said Sakhele.

2. Having worked closely with artists over the years, what are some of the most painful or common mistakes you have seen them make simply because they didn’t understand copyright and their rights?

“One of the most painful mistakes is seeing artists sign away their rights without fully understanding the long-term implications. Many have accepted agreements without legal guidance, only to discover years later that they no longer own important aspects of their work. Some record with companies and sign contracts, but when they become unhappy, they leave the companies where they signed and think they can continue on their own, saying, ‘They are my songs.’

“Another common challenge is artists not registering themselves and notifying their works correctly, or failing to understand how royalties are collected and distributed. In some cases, songs become successful, yet the creators are unable to fully benefit because the administrative side was neglected.

“I have also seen situations where collaborators never discussed ownership splits before releasing music. When success arrives, disagreements emerge because expectations were never clearly documented.

“What makes these situations painful is that most of them are preventable. The problem is rarely a lack of creativity; it is a lack of access to knowledge at the right time,” said Sakhele.

3. Your book suggests that copyright education should begin in childhood. If South Africa had been teaching these lessons in primary school decades ago, how different do you think the stories of many of our music legends might look today?

“I believe many of our music legends would have entered the industry with greater confidence, stronger negotiating power, and a clearer understanding of the value of their intellectual property. Imagine if young musicians learned from an early age that a song is not only an artistic creation but also an asset. Imagine if they understood ownership, authorship, and rights before signing their first contract. Many would have approached opportunities differently.

“I can say education alone cannot solve every challenge, but it creates awareness. Awareness creates informed decisions. Informed decisions create better outcomes. The purpose of teaching copyright at primary school level is not to turn children into lawyers. It is to help them understand that creativity has value and that they have rights connected to what they create. That understanding can stay with them for life. I am one of the kids who struggled at school and decided to become a musician, and I know you have heard this story from many musicians. Now imagine if one artist left school for music and that artist knew his or her rights, or they had my books—where would they be today? Especially our legends,” said Sakhele.

4. Many parents encourage their children to sing, dance or play instruments, but very few teach them about ownership, contracts or intellectual property. Why do you think these conversations have been missing for so long, and why is it important to change that now?

“For many years, copyright and intellectual property were seen as specialist topics reserved for lawyers, record labels, and industry professionals. They were never presented as everyday knowledge that ordinary people should understand. Some companies saw this as an easy model for making more money or exploiting musicians.

“Parents would naturally encourage talent because they can see it. They can hear a child singing or watch them dancing. Copyright is less visible. It operates behind the scenes, which is why it is often overlooked.

“The world has changed dramatically. Today, a child can create content, upload music, build an audience, and generate income from a smartphone. Because the creative economy is more accessible than ever before, understanding ownership and rights has become more important than ever.

“We must normalise these conversations at home, in schools, and within communities. Just as we teach children how to read, write, and manage money, we should also teach them how to protect the value of their creative work. That is why I write these books that we never had, so it can be easy for parents to just read to their kids,” said Sakhele.

5. You describe this book as more than a publication—you call it a movement. If every child in South Africa understood copyright before entering the creative industry, what kind of music industry do you believe we could build over the next 20 years?

“I believe we could build one of the most sustainable and empowering creative industries in the world. We would see more artists owning their intellectual property, more creators earning fairly from their work, and more professionals entering the industry with a clear understanding of their rights and responsibilities.

“We would reduce exploitation and increase entrepreneurship. Artists would not only see themselves as performers but also as business owners, rights holders, and future employers. That shift would strengthen the entire value chain of the creative sector.

“This book is the beginning of a much bigger conversation. It is a call for copyright education to become part of our national culture. If we can equip children with this knowledge today, the next generation of artists will not only create great music; they will be empowered to build lasting legacies from it. That is why I call it a movement. It is not only about protecting songs. It is about protecting futures,” said Sakhele.

If you would like to obtain a copy of any of Sakhele’s books—or the complete collection—you can contact 084 438 4487 or email pr@communications.co.za/bookings@smcommunications.co.za

HAVE YOU READ THIS ONE?: Lalela Mswane Reveals Her Game Plan for Tropika Island of Treasure