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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Women in Sierra Leone music

Accueil/Non classé/Women in Sierra Leone music

For most live music events in the country, the line-up tends to consist merely of male musicians. However, there are females, especially recording artists, who have made and are still making impact on the music industry. The text below presents an overview of female musicians including links to social media platforms and listening examples categorised by genre.

Traditional musicians

Amie Kallon: She was born and raised in Kenema (eastern Sierra Leone) and belongs to the matriarchic Mende tribe. She is one of the most influential musicians of her time. Amie Kallon played an important role during the Sierra Leone Civil War (1991-2002) as she was one of few artists who continued producing music and made public her views on the rebels.

Kallon performs traditional Mende music, sung in the native tongue. Part of her repertaire are parables and Mende folklore. A live performance of hers include 8-10 instrumentalists and dancers. It is unclear when Amie Kallon started her musical career, but she is currently still active.

Fantacee Wiz: She was born in Kabala (northern district) and currently lives in Freetown. A traditional folksinger, songwriter and actress who started her career as part of the performing art group Sierra Leone Freetong Players International, Fantacee Wiz started her own group called the Sierra Unity Playas in 2011. They toured schools across the country with a Stay in School campaign.

Fantacee Wiz has developed a unique style that combines folk and modern afrobeat, sung in both Koranko and Madingo, her local tribal languages. She uses the bata and the balangi, traditional Sierra Leonean instruments, for her live performances. Fantacee Wiz has collaborated with hip hop and dancehall artists as well, including Drizilik, Shine de Godson and Dallas Bantan. Fantacee Wiz was influenced by Amie Kallon, and is a known feminist. She has campaigned against child marriage and rape.

Reggae

Khady Black: A reggae artist, Khady Black (Khadyja Fofana) is a social activist that sings and raps in English, Krio and Madingo. She started her career in 2002 and was active up to 2008. She is best known for her song ‘Mr Government,’ in which she critiques the political situation in Sierra Leone. In 2005 she won the TBS Music Award for best reggae album for her Mr. Government album.

Afropop/ contemporary

Mijay: Mijay, whose career started in 2012, had her first hit in 2014. Titled ‘Makeneh Love,’ it featured Markmuday, one of the most popular male artists in Sierra Leone. She is one of few artists who focus on live music performances and has a close connection with Freetown Uncut, the leading live band of the country.  Her music style can be described as a combination of afropop, dancehall and R&B.

Rozzay: Rozzay Sokota started her music career as being part of a duo with Markmuday. They were known for hits such as ‘Pepeh Wata’ and ‘Life Goes On’ (2016) . She is active as a solo artist and has been signed by the KME record label.

Lady Felicia: Felicia Grant Turay, popularly known as Lady Felicia, was born in the Kailahun district of Sierra Leone. She started her career in 2004 and became popular with the song ‘Sweet Salone’. In 2009, she started the educative television talk show called The Lady Feli Show. During the Ebola crisis she became part of the ‘Artists With One Voice’ association, a group of Sierra Leonean artists, both part of the diaspora and those who were located in Sierra Leone, that voiced their support in the battle against ebola in 2014. Her last album, ‘Pressing On’, was released last year.

Empress Pee: An afropop artist, Empress Pee is one of the leading female New School artists. She is currently managed by Ellen Kister, one of Sierra Leone’s leading female MCs. Her hit ‘Boom Bam Boom’ was released in 2016

Heyden Adama: Heyden Adama Bangura is a musician, model and actress who currently lives in the United States of America. Her hitsingle, ‘Fit in Gbet’ (meaning, just perfect), was well received upon its release in 2011. Her music style is a combination of afropop, dancehall and traditional folk music. She is still active and has collaborated on a new song with Supa Saa in the start of 2017.

Gospel artists
Vicky Fornah: A gospel musician born and raised in Freetown, Vicky Fornah currently resides in the United States of America. She started her singing career at the age of 10 when she became part of her church choir. In 1995 she released her first album Don’t Bend the Law.

In 1999, she gained popularity with the song ‘Cry Africa’, which was used as soundtrack in the film ‘Burn Salone’.  In 2002 she released Hold my Hand, her best selling album up till date. She is also a social activist and was part of the Artists with One Voice group.

Hannah Williams: In 1994, Hannah Williams released her first album ‘Joyful Day’ in 1994 at the age of 26. She has released several albums since including the 2007 album ‘God Nar me Papa.’

References

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