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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5 music videos 'banned' in East Africa

Accueil/Non classé/5 music videos ‘banned’ in East Africa

But if the authorities thought ‘Zigo’ was raunchy, they could not have been prepared for what followed a few months later, when a female Tanzanian artist, Snura Mushi, released ‘Chura Dance’ with another controversial video. Clearly it was just the tip of the iceberg – and of course Tanzania is not the only East African country that has seen music videos being restricted or banned. In nearby Kenya, Rwanda and Uganda, musicians and video producers have also found themselves clashing with authorities over how far they can push the notion of freedom of expression in their videos.

Across the East African region, critics have long felt that authorities tend to use double standards when it comes to the censorship of works of art. While international content enjoys undisrupted broadcasting, authorities tend to only act on local content, and when certain members of the public express their discomfort. For example, in February 2016, when Kenyan rapper Noti Flow teamed up with Art Attack to release ‘Same Love’, a song and video promoting tolerance for homosexual relationships, the Kenya Film Classification Board (KFCB) could not hide its dismay and not only banned the video but went as far as asking Google to pull it from YouTube, although this of course was not to be.

Authorities such as the KFCB have on various occasions found themselves at the receiving end of criticism from the public, many of whom disapprove of these bodies acting as ‘moral police’ and attempt to dictate what is fit (or not fit) for public consumption. One Kenyan commentator, for example, recently weighted in on the decision by the KFCB to censor Coca-Cola adverts, writing: « Your work is not to regulate immorality. You need to relook at the law and your mandate so that you can develop this country, not stifle talent, information, entertainment and education and information. »

In 2014 Uganda passed its strict Anti-Pornography Act. In Kenya meanwhile, following the banning of the Coca-Cola adverts, the KFCB has asked all media houses to comply with its Programming Code as from 1 July 2016. The code expects all TV and radio programmes to adhere to its basic principles, with any breach resulting in serious penalties, including revoking broadcast licenses.

Despite these measures, East African artists have not been shy to push the limits. Here we feature five popular music videos that have in recent years been deemed offensive by authorities. Ironically, official attempts to censor or ban them from public broadcasters have simply helped to promote curiosity and drive up views on online platforms such as Youtube.

1. Sauti Sol – ‘Nishike’ (Kenya)

YouTube views: 1.8 million+

In 2014 Kenyan pop group Sauti Sol set the interwebs ablaze when they released the video for ‘Nishike’ (Touch Me). While it was rated  ‘too hot’ for Kenyan TV stations, many could not get enough of it and YouTube offered them the chance to watch the video over and over. For moralists the video was seen to objectify women. Despite the steamy scenes that got many hot under the collar, the creativity of the production team was of great quality. The story revolves around a man taking his lover on a fantasy ride. Expertly directed by young Enos Olik, the song’s video was nominated for East Africa’s Best Music Video at the Channel O Music Video Awards and was arguably Kenya’s most watched music video of 2014.

[video:https://www.youtube.com/watch?v=KYFQRuqQ7EM autoplay:0]

2. Panadol wa Basajja – ‘Ensolo Yange’ (Uganda)

YouTube views: 38 000+

Jemimah Kansiime, the Ugandan female artist also known by her stage name Panadol wa Basajja, was charged under the country’s strict anti-pornography laws after appearing scantily-clad in her video for ‘Ensolo Yange’. Uganda’s Ethics Minister Simon Lokodo described the video as “very obscene and vulgar” and threatened to send the artist to jail for 10 years. The censorship and its subsequent contestation raised questions worldwide on whether there should be some space allowed for so-called ‘erotic’ entertainment and encouraged debate over where exactly these limits should be drawn.

[video:https://www.youtube.com/watch?v=Sao0nn3N5x4  width:744 height:446 autoplay:0]

3. AY ft. Diamond Platnumz – ‘Zigo’ (Tanzania)

YouTube views: 6.4 million+

Within two months of release, the remix of ‘Zigo’ had garnered over 2.9 million views. A few months down the line, the video’s popularity has shown no signs of waning, with Youtube hits passing the six million mark, despite (or perhaps largely because) the Tanzania Communications Regulatory Authority (TCRA) banned ‘Zigo’ from all TV and radio stations in Tanzania. AY has put the TCRA to task, demanding an explanation as to just why ‘Zigo’ was banned.  

[video:https://www.youtube.com/watch?v=oZS3fekWNOM autoplay:0]

4. Snura – ‘Chura Dance’ (Tanzania)

YouTube views: 795 000+

Tanzanian female artist Snura Mushi recently released ‘Chura Dance’ with another controversial video, which features women twerking frantically on the beach. It was a hit among fans, with the video going viral on YouTube soon after its release. The powers that be were shocked at the video, however, and not only banned it but also barred the artist from performing the song in public, clearly fearing the prospect of widespread public displays of twerking. The artist was asked to pull down the video from YouTube until she could ‘amend’ the song and video, but really, why would she?

[video:https://www.youtube.com/watch?v=LOQJs0cuBgQ width:744 height:446 autoplay:0]

5.  Urban Boyz – ‘Ancilla’ (Rwanda)

YouTube views: 98 000+

When Rwanda’s Urban Boyz released the video to their ‘Ancilla’ track in 2014, there were mixed reactions over whether the trio had gone overboard – or what many people termed as ‘too much Westernization’. The country’s Ministry of Sports and Culture decided to ban the song from public viewership after holding extended talks with the band. The two parties apparently reached some degree of “mutual consent”, with the trio reluctantly agreeing that the song would no longer be aired in public – although of course viewers keep watching online, ensuring that the video is now nearing the 100 000 mark on YouTube.

[video:https://www.youtube.com/watch?v=l0ItLmqcjCU width:744 height:446 autoplay:0]

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