Federation of South African Clap-And-Tap Gospel Music (FESACTA)

The development of independent African churches during the 18th and 19th centuries in the African continent especially in South Africa saw many of these churches creating their own style of music. Today it is possible to differentiate these churches by their singing styles. The Apostolic churches sing differently from the Zion Christian Church and the latter sings differently from other Zionist. The unique singing style of this music groups created music groups within different denominations for the purpose of recreation and worshiping. This style of music attracted many people and it was later used by other groups which were not part of any church. Traditional Gospel music also known as Clap and Tap Gospel groups started to be great part of recreation in the seventies and eighties in the different townships and the villages of South Africa including Soweto. It also played a vital role during the liberation struggle in the eighties and seventies since it was used by political movements for their gathering. These movements used choirs singing this music because they knew that the then government would not suspect any thing because it was of a view that this were religious groups therefore they pose a little or no thread to them. In the 1980s the recording industry of South Africa started to finance the recording projects of this music. Most choirs grasped this opportunity and started to record their own albums. Most of these choirs were from Soweto, for example Barorisi Ba Morena and Jerusalema e Ncha. Clap and Tap Gospel Music remains foundation of South African Gospel music. Some of the well known South African gospel artist did this sing this music, Seipati Mkhwanazi of the Holy Spirit Gospel Choir is one of the example and the others. As you walk or drive along different township and villages you will note many self painted banners promoting Clap and Tap music concerts or stages as they called by the principals of the industry. This concerts serves as recreational events for many people as these choirs entertain them during the weekends. In Soweto alone you will find that more there are more ten stages in one weekend. The strength of this music attracted artists singing other music genre to collaborate with choirs singing this style of music. The recent collaboration between Barorisi Ba Morena and the hip pop group Skwata Camp is one the examples. It is believed that Clap and Tap music will continue to attract groups singing other music genre to collaborate with choirs singing this music. Today in Soweto alone there are more than 100 choirs singing Clap and Tap music. Most of these choirs are community groups rather than church choirs. The Clap and Tap Choirs play a vital role for some families in different townships and villages during times of bereavement since they help bereaved families to accept their loss hence they are named choirs of the funerals by other people. Despite the importance this music and their history in our communities this music remains the most underdeveloped style of music. There are no national or provincial events promoting the music unlike other music.

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