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.

Brad Holmes

Brad Holmes

Festivals
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South Africa

En service depuis :

1994

Personne de contact:

Brad Holmes

BIO

BASSLINE JAZZ CLUB (Melville, Johannesburg)
September 1994 - 2004
Venue Owner/Manager

Brad Holmes is a highly experienced, versatile and accomplished producer, promoter and venue owner. With the advent of democracy in South Africa, he played an integral role in developing and sustaining the domestic and African music industry primarily though the founding of the Bassline Jazz Club in 1994. As documented in the book, Last Night At The Bassline by David B. Coplan & Oscar Gutierrez (Jacana Media, 2017), this 200-seater club provided a live performance space for legendary and emerging musicians as well as for South Africans of all backgrounds to come together as compatriots.

In 2003 the Bassline moved into the heart of Johannesburg to create the 1200-seater Bassline Concert Hall and also inaugurated a new part of the business focusing on producing and promoting standalone live music events. These have included the Bassline Africa Day concerts, the South African concerts at Midem 2010, Fete de la Musique (Johannesburg), and since 2017, the sold-out Bassline Live monthly series at Lyric Theatre. In 2012, he used his skills, experience and insights to design the three-year music degree at AFDA (South African School for Motion Picture and Performance) when he was Music Department Head at the Cape Town campus. More recently, in his role as Managing Director of Bassline Live he has formed Bassline Artist Management whose current clients include Vusi Mahlasela and Nakhane.

BASSLINE JAZZ CLUB (Melville, Johannesburg)
September 1994 - 2004
Venue Owner/Manager
Responsibilities included:

- Managing 10 full time staff
- Programming of musicians and shows
- Marketing and advertising venue and shows
- Extensive networking with musicians
- Debuting new talent
- Managing technical and equipment requirements for shows
- Food and Beverage
- Understanding of the South African Employment act and Labour law
- Ticket sales
- Licenses
- Security
-
Reason for Leaving: Moved to a new venue in Newtown.

BASSLINE CONCERT HALL
2003 – 2016
Owner and Managing Director

The Bassline moved to Johannesburg’s Newtown Cultural Precinct. The venue was a 2800 square metre building which consisted of a 1200 seater and standing venue, a 200 seater jazz venue, six rehearsal rooms, a recording studio, 16 offices and a large open office area. Concert programmes included a more diverse range of musical genres: eg. African, Afro Pop, Jazz, Hip Hop, Kwaito, Punk, Rock, Metal, Poetry, R & B with artists from South Africa, Africa and abroad.

Responsibilities included:

- Managing 40 fulltime staff and 30 part time staff
- Concert programming
- Marketing and advertising of venue and shows
- Managing technical and equipment requirements for shows
- Food and Beverage
- Ticket sales
- Licenses
- Understanding of the South African Employment act and Labour law
- Booking of rehearsal rooms
- Office rentals
- Security
- Parking

Reason for leaving: Moved business into the festival market

BASSLINE LIVE
2016 - Present
Managing Director/ Concert and Festival Promoter /Producer/ Artist Manager

- Responsible for producing Bassline Live monthly series at the Lyric Theatre in Johannesburg from 2017 to present.
- Artist Management

While running the above venue and after 2016 produced numerous concerts and festivals:

Producer/ Promoter - Live 8 Concert, South Africa
2005
25,000 pax
Reference – OXFAM: John Treat

Producer/ Promoter - Bassline Africa Day Concerts at Mary Fitzgerald Square
2004 -2009.
Broadcast to 51 African countries via SABC, Africa
20,000 pax
2.5 minute Promo Video
https://www.youtube.com/watch?time_continue=21&v=kc3I6IhI38c
Reference - Director of Arts Culture and Heritage: Steven Sack

Producer / Promoter - Bassline Africa Day Concerts at Mofolo Park, Soweto
2006, 2007, 2008
10,000 pax
Reference - Head of Marketing, City of Johannesburg: Elseby Booyens

Producer/ Promoter - Bassline Africa Day Concert at Dries Niemand Park
2010
Broadcast to 51 African countries via SABC Africa
10,000 pax
Reference - Commissioning Editor, SABC 2: Lynne Chason

Producer / Promoter - Bassline Africa Day Concerts, Bassline Concert Venue
2012 - 2015
1000 pax per Concert

Producer / Promoter - Bassline Africa Day Concert, Newtown Park
2011 and 2016
5000 pax
Reference - SABC 2 Commissioning Editor: Elize Park

Producer / Promoter - New Year’s Eve Concerts, Johannesburg
2005 - 2009
Broadcast to 51 African countries via SABC Africa.
20000 pax to 40000 pax
Reference - SABC2 Commissioning Editor: Lynn Chason

Financial Director - Arts Alive Festival, Johannesburg, 2006 - 2008
Music Programmer - Arts Alive Festival, Johannesburg, 2012- 2014
70,000 pax over the month of September
Reference - Deputy Director of Arts, Culture and Heritage, City of Johannesburg: Alba Letts

Producer / Promoter - Women’s Day Festival
2004 - 2007
10,000 pax
Reference - Thandi Davids

Producer - Fete de la Musique, Newtown
2015, 2016, 2017, 2018, and 2019
10,000 pax
Reference - Director, Alliance Francais, Johannesburg: Gerald Candelle

Production Manager - Midem 2010 France
Produced 3 SA concerts when SA was host country in Cannes, France
Reference - CEO, Content Connect Africa: Antos Stella

Producer 8 Goals for Africa for the United Nations
Song produced by Arthur Baker with performances from Angelique Kidjo, Baaba Maal, Hugh Masekela, HHP, Eric Wainaina, Yvonne Chaka Chaka , Oliver Mtukudzi and more
https://www.youtube.com/watch?v=XaG0eYDPutM

Reference Stephen Budd Management

Promoter - Bassline Fest Celebrating Africa Day
May 2019
3000 pax
2.5minute Aftermovie:
https://www.youtube.com/watch?v=iFZxtlMe1U4
Live TV show on SABC 2
Reference - Commissioning Editor SABC: Siphiwe Nkozi

May 2018
3000 pax
2.5minute Aftermovie:
https://www.youtube.com/watch?time_continue=4&v=QDs2FugOHDc
Live TV show on SABC 2

May 2017
2000 pax

May 2016
5000 pax
5minute Aftermovie:
https://www.youtube.com/watch?time_continue=6&v=jjcV5dQX-rw
Live TV show on SABC 2
Reference - Commissioning Editor SABC: Siphiwe Nkozi

Other

AFDA (South African School of Motion Picture and Performance)
2012 - 2014
Head of Music Department, Cape Town Campus
Lecturer, Cape Town and Johannesburg Campuses
Collaborated with Curriculum Director to develop a three year curriculum for a degree in music which included modules in song writing, theory and voice. Also a module on the music business which included marketing and promoting.
Reference - Curriculum Director Anton Basson

Conferences attended as a Delegate and Panellist in 2018 and 2019
IOMMA – Reunion Islands - 2018 and 2019
AME - Carpe Verde 2018
Botswana Music Conference 2018
WOMEX 2018
Moshito Johannesburg 2018 and 2019
Music Imbizo Durban 2018 and 2019
Mozambique Music Meeting 2019

2017 - Launched the book “Last Night at the Bassline” by David Coplan. Published by Jacana Media
Reference - CEO Jacana Publishing: Bridget Impey

Bassline Artist Management

Big Voice Lerole
1996 to 2003
Managed Jack Lerole who performed with the Dave Matthews Band on the “Before these Crowded Streets” tour in June 1998 at Foxborough Stadium, Boston and Giant Stadium, New York

Abdullah Ibrahim
2004 to 2015
Bassline produced Abdullah Ibrahim concerts in Johannesburg and Durban

Currently
Vusi Mahlasela
2016 – 2019

Nakhane
2016 to 2019

Some International, African and South African Artists who performed at the Bassline and Bassline festivals were:

Wycliff Jean (Haiti), Alicia Keys (USA), Branford Marsalis (USA), Joshua Redman (USA), Dianna Reeves (USA), Terence Blanchard (USA), Tamia (Canada), Lynton Quincy Johnson (UK), Exploited (UK), New Model Army (UK), Tania Maria (Brazil), Afro Cuban All Stars (Cuba), Eliadis Achoa
(Cuba), Omar Sousa (Cuba), Egberto Gismonti (Brazil), Rita Marley (Jamaica), Ziggy Marley (Jamaica), Gill Scott Heron (USA) , Daniel Johnston (USA , Black (UK) and many more.

Amadou & Miriam (Mali), Asa (Nigeria), Vusi Mahlasela (RSA), Oliver Mtukudzi (Zimbabwe), Ishmael Lo (Senegal), Femi Kuti (Nigeria), Baaba Maal (Senegal), Habib Koite (Mali), Ladysmith Black Mambazo (RSA), Eric Wainana (Kenya), D’Banj (Nigeria), Doet Gnahore (Cote de Ivoire),Yuri de Kunha (Angola), Awadi (Senegal), Professor (RSA),| Tumi and the Volume (RSA), Nkulee Dube (RSA), The Parlotones (RSA), Wonderboom (RSA), Maya Kamaty (Reunion Islands), Hagar Samir (Egypt), Waje (Nigeria), Vaudou Game (Togo), Songhoy Blues (Mali), Mapumba (DRC), Chiwoniso (Zimbabwe), Zonke (RSA), Nakhane (RSA), Mystro (Nigeria), Maleh Kinobe (Uganda), Ringo (RSA), Lesego (RSA), HHP (RSA), Lira (RSA), Soweto Gospel Choir (RSA), South Africa Gang of Instrumentals (RSA), Gang-be (Benin), Vuvuzela Orchestra (RSA), Uju (RSA), Toya (RSA), Ghorwane (Mozambique), Hugh Masekela (RSA), Miriam Makeba (RSA), Abdullah Ibrahim (RSA), Zim Ngquawana (RSA) Moses Molelekwa (RSA), Nancy Viera (Cape Verde Islands) and many more.
https://www.skyroomlive.com

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