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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Morumokwano and linguistic turf wars in South African hip-hop

Accueil/Non classé/Morumokwano and linguistic turf wars in South African hip-hop

When the now famous Motswako sub-genre started in the late 1990s by acts such as Baphixile, it included a mixture of languages, namely Setswana, Sepedi and English and to some extent isiZulu. But Setswana rappers have since dominated the sub-genre and claimed it as theirs. A prominent Motswako rapper, Khuli Chana, even asserted on his song ‘Wannabeez’ that some rappers want to be part of Motswako, presumably because of its fame, and alleged that they are not welcome.

Although other roleplayers such as DJ Lemonka, who featured Sepedi rappers Space Munna and P.O. Box in his Motswako Tape 2 mixtape, understand the original meaning of Motswako, the damage is already done, and any rapper who doesn’t rap in Setswana and attempts to categorise his/her music under the umbrella of Motswako will forever be classified as a Motswako wannabe.

Video: DJ Lemonka ft. Spacemunna PO Box – I’m A King

Morumokwano (also known as Morumo Rap) is a style of hip-hop music that evolved from Motswako in the early 2000, in South Africa. Sepedi rappers became discontent with Setswana domination of Motswako and stopped calling their music by that name. Initially known as Sepedi/Pedi Rap due to the exclusive usage of Sepedi language, RATASepedi coined the name ‘Morumokwano’ in 2013. It is typified by Sepedi rap lyrics which usually consist of proverbs, idioms, figures of speech, rhyme, pun and other creative forms of Sepedi language, layered on a steady beat.

Etymology: The term Morumokwano was borrowed from poetic term by the same name which means rhyme in Sepedi language. The use of the term signifies the commitment to Sepedi language promotion.

Origin of Morumokwano

The origin of Morumokwano is attributed to Mr Blax Myth, member of a hip-hop group Baphixile, who are recognised as the pioneers of Motswako. They were the first act to commercially release a full length Motswako album, Ngoma in 1998. Mr Blax Myth became the first rapper to rap in Sepedi language when together with Prof, another member of Baphixile who rapped in Setswana, they released their debut single ‘Ngoma’ in 1998.

In 2004 a duo Kepsool & Mash, under the name Thy Kingdom Come, released a classic track, ‘Lengwalo. It was the first full Sepedi rap song with a story telling theme that depicted a young boy (Molatelo) writing a later to his father (Moloto), explaining how difficult life is at home without him and his support and his father writing back clarifying certain issues underlying his absence.

Then Lahzee released ‘The Rebel MC through Hype Magazine’s mixtape Hype Sessions in 2005. The same year Mokhure released Hlaba Lešata, and then Jam Square featured DJ Skrfl in the 2006 hit Mababy waka. 2007 saw Renovator Lepara dropping ‘Fast Move’. The following year Lekkersweet came to the picture with ‘Dlisa’, as did X Man who released ‘Hip and Happening’. In 2009 Showcase Showza released his first single ‘Afrika Bowa off his album Mahlomola le Matshwenyego.

The following year, Mohlolo released Sekgosese Dream Episode I. His first single was ‘Dikgoši, which was also re-introduced as a deluxe edition in his second album, Sekgosese Dream Episode II – The X Files, which went on to scoop the Best Vernacular Hip-Hop Album in the 2012 South African Traditional Music Awards (SATMA). In the year 2011, Makzi, who later changed his stage name to Pedi Katse, released ‘Sushi, Mopapa featured Mokgaga on Hip-hop Ya Mampela, and Papzito dropped ‘Kea ba Namela’.

Rise in Popularity and Evolution

The year 2012 proved to be a turning point for Morumokwano. A lot of artists released projects (EPs, LPs & Mixtapes), most notably was Mohlolo’s second album Sekgosese Dream Episode II – The X Files, which went on to win the SATMA in the category Best Vernacular Hip-hop Album. He was subsequently invited to perform in Bulgaria (Europe) the following year. 2012 was also an inaugural year for the South African Hip-Hop Awards (SAHHA). Mcdonald ‘Chocos’ Mpogeng (DJ, presenter & producer at Sekhukhune FM) was crowned King of Limpopo for the work he has done organising events (such as Hip-hop in the Park) and promoting young talent in the province. His show, ‘The Trail Blazer’, was instrumental in promoting Morumokwano, especially its battle division popularly known as ‘Spora Rap’, which was started by rappers such as P Mopastola and AT Lenyora.

2013 became the year of Morumokwano. That’s the year RATASepedi coined the name after releasing his self-titled hit, ‘RATASepedi’. It is also the year that a veteran rapper, Spaceman who changed his moniker to SpaceMunna released the famous Limpopo Mixtape, which featured a lot of upcoming Morumokwano rappers such as King Solomon II  (‘Tla ka Matla’), Lekkersweet (‘Molobedu wa Swagga’ remix), Vic Mash (‘Ayeye), IceMan and Dezry (‘Limpopo’), Rise and Madin (‘One of those Days’), to name but a few.

The project, accompanied by a DVD, showcased the vast talent and challenges rappers faced in Limpopo province. The DVD was nicknamed ‘LimpHop’, and inspired the name of the BEM LimHop Awards, formed later that year. The mixtape, led by his hit single ‘I’m a King’ featuring P.O. Box and Mama Rose, went on to be nominated for Best Mixtape category in the SAHHA’s later that year. He was also nominated in the Best Male and King of Limpopo categories, and won the latter. Also that year, Lekkersweet received a nomination for Best Vernacular Hip-Hop Album in the SATMAs.

Raymond Shihawu, one of the nominees for King of Limpopo award in the SAHHAs, through his foundation formed BEM LimHop Awards (BLHA), an annual awards ceremony which recognises and honours rappers, producers, dancers, models and other roleplayers from Limpopo province. Some of Morumokwano rappers nominated include AT Lenyora (Best Rookie & Best Lyricist), BTM (Best Lyricist), Fletcher Mog (Best Single & Best Lyricist), Vic Mash (Best Solo Artist, Best Video & Best Mixtape), Lahzee (Best Single & Best Male) and Generale (Best Lyricist). We also saw new Morumokwano rappers coming through that year. E-Level released ‘Gake Tlale Remix’ (featuring T-Shu, Pantiti, AT Lenyora, Louis CheQBeats and P. Mopastola); while Skillz Max released ‘Huduwa and Tu Sky also joined the movement with ‘Thwantsha.

2014 saw various Morumokwano rappers releasing commercial albums (eg. Mopedy’s Moletangwedi; Renovator Lepara’s Kgomo Ya Mokopane; Fletcher Mog’s Tja Limpopo; and Showcase’s The Journey). Most notable was Showcase Showza, who received multiple nominations (Best Vernacular Hip-Hop Album, Song of the Year and Video of the Year) in the SATMAs. He also collaborated with the legendary Steve Kekana on ‘Lerato la Mmino’. New artists on the block included GVN (with ‘Lehlabula Rap’ ft. Mopapa), Whale Brilo (‘Balabala) and Zub Zero (‘Lenyora), among others.

RATASepedi’s Morumokwano Tape is one of the eagerly awaited releases in 2015 (download ‘Limhop’ off the mixtape here) and a number of Morumokwano artists have vowed to stamp their authority on the mainstream African hip-hop industry this year.


The information contained in this article was obtained through thorough research which included telephonic and electronic interviews with various stakeholders. A questionnaire was also used to gather further info.


Originally published on 17 March 2015 on Africanhiphop.com.

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