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 Africa welcomed at African Creative Economy Conference

Accueil/Non classé/Music In Africa welcomed at African Creative Economy Conference

Placing thematic emphasis on African ownership of Africa’s creative economy, this year’s conference included home-grown initiatives and analysis affirming the meaningful contributions cultural practitioners in Africa are making to their communities, cities, countries, continent and the world. Some 150 delegates attended the conference, which was preceded by Arterial Network’s two-day conference, where members gathered to deliberate on policies, plans and programmes.

Music was a strong thread within the conference, thanks to Arterial Network’s partnerships with Music in Africa, who were hosting their annual general meeting and Le Kolatier music market, which provided quality music entertainment every evening throughout the conference period.

A panel discussion on the first day titled ‘Music and the economy’ was moderated by Faisal Kiwewa from the Bayimba Foundation in Uganda, a partner of Music In Africa. The panel also featured Music In Africa board member Andre Le Roux, who showed examples of well-conceived city-based initiatives to show how these projects were contributing to grow the vibrant live music scene in South Africa. Another partner of Music In Africa, Yusuf Mahmoud from Busara Promotions in Zanzibar, discussed the recent decision not to host Sauti sa Busara festival in 2016, highlighting the significant contribution of festivals to the local economy highlighting the need for support of such festivals through public private partnerships. The panel also featured local Cameroon music industry heavyweight Reuben Binam Bikoi.

In another panel that day, entitled ‘Technologies of Change’, the chairman of the Music In Africa Foundation, Ribio Nzeza Bunketi Buse from DRC, discussed the importance of digital tools for the production and promotion of music. Beyond the economic rationale and impact of online and mobile platforms, he noted their importance in terms of relative freedom from censorship and for making contested content available to wider audiences. The panel was moderated by Musonda Chimba and also featured Buni TV’s Marie Lora Mungai and Emma Kaye from Bozza.

Other panel topics at the conference included ‘Regional cooperation in central Africa’, ‘International cooperation and the African Creative sector’, ‘Redefining concepts and processes’, ‘Cooperation across borders and boundaries’ (which included contributions from Music In Africa contributor Telesphore Mba Bizo) and ‘Occupying our spaces’, focusing on the link between arts, culture and democracy.

Speaker presentations and discussions at the fifth African Creative Economy Conference provided high levels of information and inspiration. Insights into some of the exciting initiatives and directions being undertaken by creative practitioners and stakeholder agencies in Africa indicate very encouraging progress across the sector. Numerous challenges exist, such as funding shortcomings, lack of infrastructure, challenges around mobility, management skills, and access to resources, an absence of statistical data or tools and instruments by which to measure the creative economy, large gaps between formal and informal sectors, and constraints on freedom of expression in many countries. However, the fact that artists and arts organisations are succeeding indicates innovation, perseverance and resilience often in the face of daunting difficulties. A sense of greater openness by some governments to collaborate with artists and arts organisations signals new opportunities to work together in service of the cultural sector. Everyone shares similar objectives, to see the growth and development of the cultural and creative sector. Enhanced communication between like-minded role-players will go a long way toward coordinated projects and programmes.

Despite the challenges of organising such an event, Arterial Network and its partners have over the past five years made real the dream of a conference which would understand both physically and intellectually the varying contexts of the cultural sector and its associated creative economy. Arterial Network was one of the first organisations to place the issues of the creative economy in Africa in public conferences. This year’s edition completes a journey which began in Nairobi, Kenya (2011), then Dakar, Senegal (2012), Cape Town, South Africa (2013) and Rabat, Morocco (2014) and finally Yaounde in Cameroon. Having completed the conference cycle through all five regions of Africa, consideration now needs to be given as to how Arterial Network, its affiliates and associates can be effective in keeping these matters on the current agendas – through reports, other events, relevant structures, and particularly at government level, through strategic and coordinated advocacy, in order to work together to advance the creative sector in Africa.

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