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.

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Interview: DJ Spoko

Accueil/Non classé/Interview: DJ Spoko

“Hello New York, I’m going to turn this place into a township!” exclaimed a voice through PS1’s soundsystem. The exhuberant disc jockey spun music reminiscent of the Shangaan tradition, ranging from Shangaan Electro to Gqom. Trained by Shangaan Electro pioneer Nozinja, Spoko brings an electric South African energy with him onstage.

Before Spoko’s set, this Bacardi House producer was wondering around the halls of PS1 enjoying the artworks. “This one is my favourite,” he said as he pointed toward a self portrait by Austrian painter, Marina Lassnig. Beside Spoko was his friend and cameraman Wills Glasspiegel, who along with True Panther Sounds founder Dean Bein, made sure Spoko’s show was documented. Spoko was happy to do a quick interview with Music In Africa before his set…

How does it feel to bring your music to such an incredible place like New York?

DJ Spoko: I’m living the dream out here man, somebody better not wake me up because it’s just too good!

How did you get into music production?

DJ Spoko: Well, I’m somebody who isn’t scared to try new things. I was interested in music for a while, and when I went down to Soweto, people were telling me there were Shangaanis working on electronic stuff, so I went to check it out. I ended up spending three years of my life there, studying the style of music, sound engineering, and production. It came to the point where other producers were asking me how their music sounded, and since I thought their music was too slow I told them to speed it up so they could sing slower in half time. We made it so we could sing at 90, while the beat stays at 180. That’s why it’s difficult when you mix Bacardi with House music, because Bacardi is only on 123 bpm, but you can’t mix it with house because in reality the beat is going on 246 bpm. We were making this new type of music.

What advice would you give to all the young artists out there making Shangaan music?

DJ Spoko: If you’re real with yourself, you mustn’t worry about the songs that get scrapped or the music you’ve lost along the creative process, just keep making music and build up a fan base. I’ve been doing music for 15 years and I started touring the world like three years ago. I had like 12 years of hardship in the game, but now everything has worked out and I’m playing here in the big city. This guy from the township with all these fans and supporters, its crazy man.

How were you discovered?

DJ Spoko: The guy who was filming me earlier, Wills – visited South Africa to discover the music scene. But when he arrived, he found out about another part of the Shangaan scene, which was where I was involved. When he got back to the US he contacted me about my music. And I was like “Whoa this guy is a friend of Nozinja! How did we not meet?” We spoke via email and I ended up doing a remix of a track by Glasser and sending it to him. Next thing you know I’m doing some remixes for these guys over in France, which is when Dean gave me a shout and told me he wanted to do something with the music. I told him it was hard because here I am in the township, how is this gonna work? I said he should come to South Africa and feel what I feel, and see the Shangaan scene. So he did just that. After that we signed a deal to True Panther Sounds I released my first EP, Ghost Town.

What’s next for DJ Spoko?

DJ Spoko: I’ve got an album coming out under Lit City Trax called War God: it’s about 20 tracks long. It should be out soon but I’m also working on another collaborative EP with Mujava. I’ve also been working with Spoek Mathambo, Andre and Bergie on the Fantasma EP.

How does the audience react to your music in the United States compared to back in South Africa?

DJ Spoko: It’s so much crazier in America man, I make party music and the people here like to have fun! I love South Africa, but it is also time to bring the new sound of Mzanzi to different places.

You’re also in another group with Spoek Mathambo called Fantasma, how did the two of you meet?

DJ Spoko: The first time we met was when Spoek was filming me for his movie, Future Sound of Mzanzi. People were telling me: “There’s this boy! He stole your name!” I said, “No he’s never met me that’s not possible!” So when we met, we spoke about music and then suddenly we’re in this band and now we’ve got a deal over in the UK and a tour soon. I can’t believe it sometimes.

Any last thoughts or shoutouts?

DJ Spoko: Shout out to my main guys Dean, Wills, Spoek, Bergie, Andre, Nozinja, the True Panther Family – and Mzansi!

* Hear DJ Spoko’s new track from the compilation album The Devil’s Rebels below:

[audio:https://soundcloud.com/djspokom/dj-spoko-afrikamotherland autoplay:0]

 

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