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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Music in the Rwandan media

Accueil/Non classé/Music in the Rwandan media

Radio

Radio is the most important channel through which ordinary Rwandans receive information on the country’s news and music. The first radio station was owned by the state. Radio Rwanda was established in 1961 and remained the sole operator until the establishment of other radio stations in 2004. It was officially inaugurated on 19 May 1961, although test broadcasts began three months earlier. From 1961 to 1962, Radio Rwanda developed its infrastructures with equipment from outside the country, enabling it to cover 80% of the country by 1978.

In 1993, during the war between the Rwandan Patriotic Front (RPF) and the Rwandan government, Radio Rwanda lost its monopoly with the creation of the private station Radio Télévision Libre des Mille Collines (RTLM). After the 1994 Genocide against Tutsis and moderate Hutu, Radio Rwanda once again became the only radio station operating in the country until 2002when the law allowed for the creation of private radio stations. From this period many private radios were rapidly created.[i]

Today, there are so many radio stations – that it’s difficult to keep track of all of them. There are approximately 33 radio stations registered in Rwanda they include commercial, religious and community stations. The biggest radio stations include 98.7 KFM[ii], Kiss FM[iii], KT Radio[iv], Radio 10[v], Flash FM[vi], Radio Salus[vii], City Radio[viii], Radio One 91.1FM[ix], Contact FM[x] and Magic FM[xi].

Because radio reaches all corners of the country, it is the preferred media for most rural Rwandans. Outside Kigali, other parts of the country have smaller or community radio stations owned by the government, such as RC Musanze, Rubavu and Karongi. In every district there is a radio owned by the government. Rural citizens often know more about music in Rwanda than urban Rwandans because they are constantly glued to their radios!

Christian stations are also popular in Rwanda. These include Ubuntu Butangaje (aka Amazing Grace Christian Radio 105.1)[xii], Authentic Radio 92.8FM[xiii], Sana Radio (aka Restore FM)[xiv], Radio Umucyo 102.8FM[xv], Voice of Hope (affiliated to Adventist World Radio), Voice of Africa 94.7 Kigali FM[xvi] and Radio Maria[xvii], among others. These stations play music by both international and local gospel musicians, according to their religion beliefs.

There are particular shows that are dedicated to Rwandan music. It is in these shows that the presenters will inform the public on the latest music shows and concerts upcoming by the same musician. Most Rwandan radio stations and televisions are now streaming online and some have their own Youtube channels. Among them are ‘Isango na Muzika’ hosted by Phil Peter on Isango Star Radio[xviii] and ‘1on1’ hosted by Anangwe on Contact FM[xix].

Television

The first television station in Rwanda, known as Rwanda TV, was established in 1992. It is government owned and has since been transformed to Reba TV, under the Rwanda Broadcasting Agency (RBA)[xx].

Today a number of other private television stations have risen. Each has allocated much time to promote local music and musicians. These include TV10[xxi], TV1[xxii], Lemigo TV[xxiii], FamilyTV[xxiv] and Yego TV[xxv], among others. Occasionally, local TV stations will air music video for the general population to enjoy, while there are various talk shows that look into the local music industry, such as ‘Celebrity Show’  hosted by Lucky Nzeyimana on Family TV[xxvi].

Regional pay-TV providers like DStv, GoTV and StarTimes are not easily affordable to most Rwandans. However, a number of people have acquired their services and enjoy international music that is aired on the various channels, the most popular of which are MTV and Trace Urban.

Print Media

Rwandan newspapers follow the local music industry and frequently update readers on chart news and album launches, for example. In this way, the public is kept abreast of new trends, even if one is not a party fanatic. The print media also carry up-to-date information on foreign artists and international music trends.

Rwanda’s main newspaper is The New Times, which includes a daily column (both in print and online) dedicated to entertainment highlights and provides more extensive report over the weekends [xxvii].

The other leading newspapers are Imvaho Nshya[xxviii] and Izuba[xxix] which are in Kinyarwanda, Rwanda’s official language.

Online Media

The use of modern technology is revolutionizing the way information is shared, including how music is sold and consumed. A growing number of websites feature Rwandan music and provide worldwide access to Rwandan music, musicians’ profiles, lyrics, news and events. Examples of such sites include IGIHE[xxx]; Inyarwanda[xxxi], Umuseke[xxxii], Imirasire[xxxiii], Yegob[xxxiv], Rwanda Paparazzi[xxxv] and Kigali Today[xxxvi], among others. Popular online news platforms include The Rwandan[xxxvii] ; The Rwanda Focus[xxxviii]; and News of Rwanda[xxxix] .

Musicians in Rwanda are increasingly using online media for promoting their music. Album sales have been outstripped by digital downloads and streaming. Facebook, Twitter, Youtube and Instagram have therefore come to dominate the music industry, with many musicians using these platforms to promote their art.

Most Rwandan musicians started their career online before they became known in the mainstream media. The social media craze has not left Rwanda behind and most telecom companies allow free use of Facebook on their mobile networks. This has allowed owners of even the most basic cellphones (provided they have internet access) a chance to always know what’s happening in the music scene.

Language

The Kinyarwanda language dominates the local music industry, with most musicians choosing to use it to relay their messages.  This is because Kinyarwanda is widely spoken and understood in many parts of the country compared to other languages and most Rwandan musicians have a low education background. Most are not fluent in foreign languages like English or French. Kinyarwanda is therefore considered the most effective way of spreading news around the country – unless there is a big music story in Rwanda, in which case you find journalists trying to translate it into English so that they share it worldwide,

Rwandan musicians have realized that listeners identify more closely to songs that are sung in a local language because it gives them a feeling of belonging. Lately, however, more and more musicians have been going against the grain, singing in English or mixing English with Kinyarwanda and/or Swahili – in order to break into the larger East African or global market.

Media freedom

Rwanda’s constitution (Article34) states that “freedom of the press and freedom of information are recognized and guaranteed by the state.” However, other clauses broadly define circumstances under which these rights can be restricted, and in practice the media remain under the tight control of the government. The country’s 2009 media law sets out strict regulations, accreditation requirements and licensing procedures. It also requires journalists to reveal their sources to the government for criminal investigations.

The law also prohibits the propagation of ideas based on “ethnic, regional, racial, religious, language, or other divisive characteristics.” Public incitement to ’divisionism’ is punishable by up to five years in prison and fines of up to 5 million Rwandan francs (about US $7000). Statutes also forbid defamation of the head of state or other public officials, which can carry up to five years in prison and fines of up to RWf10 000 ($14). These laws are generally seen as vague and sweeping in breadth.[xl]

Despite the role played by media in the genocide (Thompson, 2007), Rwanda’s media today is one of the strongest weapons used to fight against divisions in society, and the government works with the youth in organizing events that promote unity, such as Walk to Remember[xli].

However the government has banned some videos deemed explicit or contradicting the rules that artists are given whenever going to shoot videos. These include ‘Ancilla’ by Urban Boyz[xlii], Dr Jiji’s ‘Welcome to Bed’[xliii], ‘Antere Ibuye’ by Dr Jiji, Ama G The Black and Bruce Melodie[xliv]  and ‘I Like You By’ by Fearless[xlv]. All these video were banished in 2014 through the Rwanda Media Commission (RMC)[xlvi], the current regulatory body. Nevertheless, Rwanda continues to develop rapidly in all sectors, including entertainment.


Suggested further reading:

1. Ndikubwayezu, G. 2011. ‘Rwandan Media Today‘. Available online here.
2. Media High Council. 2011. ‘New list of licensed media organs in Rwanda’. Available online here. 
3. Thompson, A. (ed.) 2007.  The Media and the Rwanda Genocide. Kampala: Fountain. Available online at here.
4. Freedom House. 2014. ‘Rwanda’. Available online at here.
5. United Nations. 2014. ‘Rwanda media barometer launched on World Press Freedom Day’. Available online here. 

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