NEFCISA
NEFCISA

The Music In Africa Foundation (MIAF) is proud to announce its partnership with the Industrial Development Corporation (IDC) as a Strategic Implementing Partner (SIP) for its Social Employment Fund (SEF). Through this collaboration, MIAF is launching a new national programme designed to create jobs, address skills gaps, and strengthen South Africa’s creative industries — in line with the SEF’s overarching goal to generate work for the common good and build community value through employment, social contribution, and inclusive economic participation. Operating under the banner NEFCISA (National Employment Facility for Creative Industries in South Africa), the initiative will recruit and train participants, match them with host organisations, and place a minimum of 1 000 workers across the country. Key Objectives: Support employment and entrepreneurship in the creative industries. Offer skills development and training programmes. Foster partnerships between public and private creative sectors. Promote South African creativity at both provincial and national levels Foster community development through social contribution.

ACCES
ACCES

Chaque année, nous fournissons des informations générales afin de guider les participants dans la préparation de leur voyage. En plus de ce site, des mises à jour importantes seront envoyées par e-mail à tous les délégués inscrits. Assurez-vous de vous inscrire dès que possible. Pour plus d'informations, veuillez contacter [email protected] Continuez à consulter cette page pour plus d'information.  

Gender@Work
Gender@Work

Music In Africa Gender @ Work is a three-year training programme aimed at upskilling and increasing the participation of female professionals in the African music sector. Launched by the Music In Africa Foundation (MIAF) in April 2019, the programme is connected to the MIAF’s ACCES music conference – a pan-African event held in a different African country every year. This connection enables the programme to reach new participants in a different African country every year. The programme marks the beginning of a more concerted effort by the Foundation to support the participation and inclusion of women in all facets of its programmes and the music sector in Africa as a whole. Over the three years, the programme will aim to address gender imbalances in the sector through training, lobbying, facilitating knowledge exchange and dialogues that foster the interest of women. The broader objectives of the programme are to: Provide industry training for women on critical music industry skills, focusing on: Stage management Electronic music production and recording Music business management Technical knowledge Provide an opportunity for both professional and aspiring women to benefit from the Music In Africa network and its broad range of activities in 2019, 2020 and 2021. Provide a solution-based platform in the form of a round table at ACCES with a view to identify challenges, discuss opportunities and lobby for the interests of female practitioners. Offer participants the opportunity to benefit from programmes offered by MIAF’s partners. Increase access to educational materials. Integrate participants in the broader ACCES programme to maximise experience and exposure to the industry. Record and present training materials on the www.musicinafrica.net, including but not limited to tutorials, templates and other best-practice materials. Communicate women-based themes that support the initiatives and messages of the programme. MAIN TRAINING ACTIVITIES Training in first country (Ghana): In the first year, participants will be trained on all aspects of stage management by a team of experienced stage managers from 10 to 17 November 2019. The programme will offer robust classroom training as well as practical, hands-on training in which participants will also be given the opportunity to manage various aspects of the ACCES performance programme. Training in second country: The second training iteration will take place at ACCES 2020 when the programme will diversify its course to include music production lessons and training on other music business topics. A round-table platform will also be introduced to coincide with the ACCES programme. Training in third country: The third training iteration will take place at ACCES 2021 in a different country, offering an advanced course. HOW DO YOU GET INVOLVED?  As a participant, facilitator or trainer: The programme enrolls up to 12 trainees every year. All opportunities are advertised publicly on this website, and will be added to this page. Please keep checking this page for new calls (below under UPDATES & CURRENT OPPORTUNITIES). As a partner Please contact Claire Metais at [email protected]. APPLY The call for applications for 2020 will be announced soon. The Music In Africa Gender @ Work programme is made possible with the support of the Prince Claus Fund, Siemens Stiftung and Goethe-Institut.

Sound Connects Fund
Sound Connects Fund

Pour les praticiens et les organisations culturels et créatifs opérant en Afrique australe, l’accès au financement reste un défi majeur. La pandémie de COVID-19 a également eu un impact massif sur les politiques gouvernementales, les dépenses et l’économie en général, et a vu les dépenses consacrées à la culture reléguées plus bas dans la liste des priorités. De plus, les industries culturelles et créatives citent régulièrement quatre domaines principaux où l’investissement est nécessaire pour la croissance : une visibilité accrue, la mobilité incluant l’accès à de nouveaux marchés, le financement et les structures de soutien.

Music In Africa Live
Music In Africa Live

MUSIC IN AFRICA LIVE Lancé en 2020 pour une durée de 3 ans, Music In Africa Live est une initiative visant à soutenir l'écosystème de la musique africaine face aux contraintes imposées par la pandémie de COVID-19 ; le projet a été lancé par la Fondation Music In Africa (MIAF) en partenariat avec le ministère fédéral allemand des Affaires étrangères, Siemens Stiftung et le Goethe Institut. Plus de 30 aides sont disponibles dans le cadre de la troisième édition de Music In Africa Live, dans 3 catégories :  showcases, renforcement des compétences et plaidoyer, en conformité avec les modalités énoncées.

Instrument Building And Repair Project
Instrument Building And Repair Project

The overarching objective of Music In Africa Foundation’s Instrument Building and Repair (IBR) project is to encourage the formalisation and professionalisation of instrument-making and repair in Africa, especially in relation to indigenous African instruments. Background In 2014, the Music In Africa Foundation (MIAF) identified as one of its focus areas for development the need to encourage young people from music and music-related sectors to consider instrument-making as a career. This need extended itself from the recognition that the making of traditional African instruments is not a widely practiced skill and seems to be limited to the older generation. Traditional African instrument makers are also few and far between, making communication and logistics between teachers and learners an obstacle. When instrument building workshops take place, budgetary constraints do not allow teachers or learners the time to explore the finer details of an instrument. Based on these observations, the MIAF designed and piloted the first IBR workshop at the Dhow Countries Music Academy (DCMA) in Zanzibar in February 2015. In 2016, the foundation received funding from the South African National Lotteries Commission to implement a much bigger version of the project in Johannesburg. The project drew participants from five African countries. 25 students from South Africa, Ghana, Senegal, Kenya and Ethiopia were trained on how to build and repair musical instruments. The instruments that they made were: Traditional Instruments: Umakhweyana and Marimba Conventional Instrument: Dulcimer guitar The workshop culminated in a traditional instruments concert at the Wits Theatre in Johannesburg. It is the MIAF’s aim to roll out similar workshops in as many African countries as possible over the next few years. Objectives Developing awareness of musical instrument makers in Africa with a view to promote their work to a wider global audience. Facilitating the sharing and transfer of skills in indigenous instruments between countries on the continent. Encouraging the formalisation and professionalisation of instrument-making and repair in Africa, especially in relation to indigenous instruments. Helping instrument makers develop their careers. Fostering the rapid monetisation and sustainable development of instrument-making and repair in Africa. Promoting constant exchange of ideas, expertise, experiences and know-how among instrument makers in Africa. Facilitating the identification of existing gaps in the field with a view to contribute new solutions. Facilitating the transfer of knowledge and skills of indigenous instruments between younger and older generations. 2020 edition The MIAF has also announced that multi-instrumentalist and instrument maker Joe Makhanza will facilitate one of the workshops on the building of the kamale ngoni instrument. Kamale ngoni is a kora-like, stringed instrument that originated in West Africa. The instrument contributed to the rise of Wassoulou music in the 1970s and 1990s. Makhanza was born in Giyani in South Africa's Limpopo province. He completed a bachelor of music degree and a post-graduate diploma in arts marketing from Wits University. He is currently completing his masters in ethnomusicology and is a part-time lecturer in African music studies at Rhodes University. He plays the kora, mbira, valiha, masenqo, xiwewe, ngoni ba and xizambi, among others. He also manufactures the aforementioned instruments. The MIAF will confirm more trainers who will join the workshops as well as the other instruments that will be featured in the 2020 IBR programme.  Apply to participate here. Connect with us on Twitter, Instagram and Facebook, and subscribe to our monthly newsletter. The Music In Africa Instrument Building and Repair project is funded by the National Lotteries Commission. It is implemented in partnership with Siemens Stiftung, Goethe-Institut, Wits Theatre and Kaya FM.

MOONGA K.

MOONGA K.

Solo artists
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Johannesburg, South Africa

En service depuis :

2016

Personne de contact:

MOONGA K.

BIO

Moonga Kapambwe, popularly known as MOONGA K. is a Zambian-born, Botswana-raised artist who wraps his diverse palette into a sound that incorporates R&B, funk, soul, hip hop, rock, pop and electronic styles. Now based in South Africa, his musical journey resembles that of his own self-discovery. “I’d like to think my music creates safe spaces for marginalized groups of people,” Moonga says. “I like to be a voice for people that are afraid to speak out, but more so amplifying their voices.” He's collaborated with artists such as Sampa the Great, PHFAT, Zakes Bantwini & Georgel and gone on to release the SAMA-nominated, CANDID, and the dynamic second studio album, GARDEN, which has amassed over half a million streams to date. His music has been featured in the series Queen Sugar and Love Island USA, he's curated a songwriting camp for TuneCore, appeared in the annual GQ music issue & received a second South African Music Award nomination in 2023 in the Best Pop Album category. His music has also received widespread radio playlisting at in Los Angeles, 5FM in South Africa, Reprezent Radio in the UK, and FBi Radio in Australia.

From a firm musical background, Moonga started singing at 6, performing at 9 and was prompted to write after hearing Frank Ocean’s ‘American Wedding’ at age 14. "It all stems from my childhood," he says. "I'm obsessed with sci-fi and the way that we can be whatever want to be in different worlds and universes, so that inspires my big, experimental ideas". With further influences including Prince, Laura Mvula, D’Angelo, Ntozake Shange and Janelle Monáe, Moonga wraps his diverse palette into a sound that incorporates R&B, funk, soul, hip hop, rock, and electronic styles. With 2017’s FREE, 2018‘s debut album WILD SOLACE and 2020's an ode to growth under his belt, Moonga achieved recognition as Apple Music’s New Artist Spotlight and OkayAfrica’s 2018 list of ‘15 Best South African Albums So Far’ and has received high acclaim from publications such as GQ, AFROPUNK, Rolling Stone, Wonderland, The Fader, UPROXX, Red Bull Music, 10and5, Texx And The City and MusicInAfrica. Having whittled out a path for himself in the alternative scene, the 27-year-old artist has graced the stages of Planet Afropunk, Rocking the Daisies, OppiKoppi, Fête de la Musique, Splashy Fen Festival, Afternoon Express, Expresso, and Sofar Sounds.

These performances offer a chance for the artist's creations to interact directly with fans. "As an artist who's put these sounds and words into the music, you always want to feel accepted by the people," he reveals. What captures audiences' ears are Moonga's poignant lyricism, emotive melodies, textured interiority, and authentic social activism. “I think I've always been a vocal person – a fighter and rebel," Moonga shares. "I definitely dive into socio-political issues”. These elements are all present on his EP's, FREE, an ode to growth, CANDID, produced by SAMA-nominee Greg Abrahams (Låpsley, Msaki, Will Linley) and IV and the albums, WILD SOLACE and GARDEN, his most recent release and second album produced by James McMillan AKA quietmoneymusic (Whitney Houston, Sade, Amy Winehouse, Burna Boy, Mahalia) and FDeeZus (AKA, Nasty C, Amanda Black). "Everything I've released continues to be an amalgamation of all the work I've put out and the artist I've become – detailing my experiences being a young black person in this world,” he says.

With a sound as fluid as his identity, Moonga aims to provide the soundtrack to our collective journeys of self-acceptance through his poignant lyricism, emotive melodies, textured interiority, and authentic social activism, while speaking openly about toxic masculinity, racial injustice, love, community and mental well-being, while tapping more into afrofuturist tones. “It's about being somewhat creatively in the future,” he says. “Not being held back by the idea of being the same, sharing identities and standing in your own light.”

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