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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The live music scene in Swaziland

Accueil/Non classé/The live music scene in Swaziland

Venues

The most active and popular venues in Swaziland are found around big towns and along the Manzini-Mbabane corridor. Located in Malkerns Valley, House On Fire is probably the country’s best-known live music venue that is known for hosting the annual MTN Bushfire festival. It is every artist’s dream in Swaziland to stage a performance on the MTN Bushfire main stage, which is so far the country’s biggest platform to stage live music performances. Artists who have recently performed on that stage include Swaziland’s ‘first lady of reggae’ Pachanga and other notable local artists such as Bholoja, Siyinqaba, Nomsa M, DJ Mbo, Fanaza, Nomzamo and others.

The House On Fire amphitheatre stage is used for regular weekend events such as Sibebe Friday Night Live. Many local and international acts have graced this stage, which is open throughout the year. Rapper King Terry, the runner-up of the Sibebe Night Live Battle Of Bands competition, got a chance to perform during the 2016 Bushfire festival, where he shared the stage with international star Cold Specks from Canada.

In Matsapha, Esibayeni Lodge’s Ronde Vu outdoor stage hosts live performers every Sunday afternoon, usually for free. People come to relax and enjoy live music. Also at Esibayeni Lodge there is the Déjà vu Cocktail Lounge, which hosted the first edition of the Elite Season hip-hop festival and a concert by popular performer Tiyas King in early 2016. Upcoming gospel sensation Nothando Hlophe recorded a live show at the lodge for her debut album Impilo Yam.

In Manzini’s Ngwane Park, there is The Vibe. It’s owned by Itallo, a popular local jazz artist. The Vibe has both a live stage and a rehearsal room. Afro-jazz and soul musicians use The Vibe for jam sessions. The venue is popular for its Sunday sessions, when people come to chill out and enjoy good music. The rehearsal hall is used by local artists and is available for bookings. In mid-2016 it hosted a jam session featuring the likes of Lee Bombo, Pachanga, Juda Selisthena, Vanlz, Mcwayizeni Ntshangase and the host, Itallo.

In Manzini town, there is the Mavuso Trade Centre, a popular venue renowned for hosting the annual Swaziland International Trade Fair (SITF). This is one of the biggest venues in the kingdom, with several halls and a pub for indoor events. For outdoor events promoters use the centre’s sports fields. The Mavuso Trade Centre hosted the National Arts and Culture Awards (formerly known as the Tihlabani Awards) in 2010, as well as the Storm Festival and plenty of other live music events, such as the end-of-year show by Ndumiso Simelane of Izinceku Zamagawugawu, one of the biggest-selling acts in the kingdom. The venue’s annual ‘gospel crossover’ show features local and international gospel acts, attracting an audience of between 7000 and 10 000 people.

For the trendier audience there is Solanis Shisanyama in the township Msunduza in Mbabane, as well as the White House in Manzini. These venues stage shows every weekend, hosting both local and international acts.

Events and festivals

Swaziland unfortunately doesn’t offer many regular music platforms, besides occasional live shows and festivals. The country has witnessed a fall in the number of live music events since the late 1990s. The Swaziland International Trade Fair Show (SITF) is arguably less popular than it once was, while the Simunye Fun Fair was last staged back in 2013.

The biggest annual event in the nation is the internationally acclaimed MTN Bushfire music and arts festival, which in 2016 celebrated its 10th anniversary.

In the run-up to Bushfire each year, there is a series of live shows powered by the Sibebe Premium Lager, dubbed Sibebe Friday Night Live. The monthly series provides a platform for Swazi musicians to battle each other in a Battle of the Bands contest, with the overall winner earning a place on the Bushfire stage as well as a cash prize. 

The annual Francophonie Festival is hosted by the local Alliance Française. This week-long festival sees people enjoying a variety of entertainment, including music, art, local craft and food, a kids’ zone and a skate park.

Also powered by the Alliance Française is the regular Arts Awake event which was founded by poets Musa Ndzinisa and Beko ‘The Storyteller’ Dlamini. Established for artists by artists, it provides a platform for both established and upcoming Swazi poets and musicians. Arts Awake shows are held monthly at the Mbabane Theatre Club.

The popular Hipnotik Festival caters primarily to hip-hop fans and musicians. The festival is hosted by Swazi Jive, a local entertainment stable run by Sakhile Nkambule. In 2016 the festival added rap, dance and beat ‘battles’ where participants could win cash prizes.

There is also the Fish Party, a two-day family-friendly festival hosted by KAD Concepts in summer at Lubovane Dam in Siphofaneni.

Promotion

Through media channels such as SBIS Radio, Swazi TV and Channel S, Swazi musicians are able to promote their live shows. Regular gig guides include Swazi TV’s weekly ‘This Weekend Eswatini’. Musicians also use the print media, particularly the Times of Swaziland and the Swazi Observer.

To sell tickets for shows, many Swazi promoters and musicians use Computicket, while others collaborate with local shops, restaurants or music stores. If one drives along the main road in Swaziland, one usually sees printed flyers and billboards which advertise upcoming live shows.

Judging by the high standard of live shows already witnessed in 2016, Swaziland’s live music scene appears to be growing and improving after several years of decline. Despite a limited amount of events and venues, live music still plays an important role in the lives of many people in Swaziland.

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