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.

Carlo Mombelli

Carlo Mombelli

Solo artists
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Johannesburg, South Africa

En service depuis :

1982

Personne de contact:

Carlo Mombelli

BIO

Carlo Mombelli is a composer, bassist and educator from South Africa.

Carlo’s music has been described in the press as:

‘Once in a while an artist comes along who produces music unlike anything you've heard. Avant-garde bass-focused jazz composition has rarely sounded so gorgeous.
Bass Player Magazine (USA)

‘His music is unusually and unexpectedly fresh.’ - Paris Jazz Man Magazine, (FRANCE)

Hauntingly beautiful
BBC radio - London

Disconcertingly beautiful.
THE JAZZ TIMES (USA)

His music sits on the cusp of sanity, where madness and brilliance share space, where true art resides.
The Sunday Independent

Carlo Mombelli is nothing short of a national treasure – you cannot argue with the depth, passion and inventiveness of his music.
The Mail and Guardian.

Bassist Carlo Mombelli is something of a sage figure. He remains one of the most restlessly creative forces in South African jazz.
By Dan Bilawsky (New York) All about JAZZ
February 20, 2019

Shortened Biography
In his 40-year career as a bass player, band leader and composer, the South African Carlo Mombelli currently living in Johannesburg has bridged gaps between genres, musicians and the audiences.

Concerts
In 2021 the MET, Metropolitan Museum of Art, New York presented Carlo performing his music together with the Grammy award-winning New York String Quartet ‘Ethel’.

A self-taught musician, he has recorded and performed at many respected music festivals and clubs, including:
the Roma Villa Celimontana Jazz Festival,
the Stockholm Jazz Festival,
the German Moers Festival,
The Leipziger Jazztage,
The BimHuis in Amsterdam,
The Berliner Philharmonie,
‘On the Edge of Wrong’ festival in Norway,
the Banlieues Bleues festival in Paris,
Cape Town International Jazz festival,
Festival Mundial in the Netherlands,
the JazzWerkstadt in Bern, Switzerland,
& ‘Rio Loco’ festival in Toulouse France, to name a few,

with amongst others, Mick Goodrick, Charlie Mariano, Konstantin Wecker, Jeroen van Vliet, Malcolm Braff, Jorge Rossy, Wolfgang Muthspiel, Dejan Terzic, Wolfgang Haffner, Francois Jeanneau, Carine Bonnefoy, Barbara Dennerlein, Samual Blaser, Frodo Nymo, Håkon Mjåset Johansen, Kyle Shepherd & Adrian Mears.

He has also recorded for Enja Records with Egberto Gismonti as well as with Lee Konitz, and has contributed music and played on the 1989 tribute for Jaco Pastorius, ‘Basstorius’, that also features the bassists Mathew Garrison and Carles Benavent.

Back home in South Africa he has performed and worked with Duke Makazi, Ray Phiri, Barney Rachabane, Lionel Pillay, Hotep Galeta, Afrika Mhkize, Sydney Mnisi, Mbuso Khoza, Ayanda Sikade, Themba Mkhize, Khaya Mlahlangu, Vuma Levin, Jono Sweetman, JB Arthur, Nduduzo Makhathini and Thandi Ntuli, to name a few.

He can also be heard as a bassist on many South African recordings with amongst others, Marcus Wyatt, Zim Ngqawana, Tlale Makhene, Johnny Fourie, Simphiwe Dana, Kyle Shepherd, Sibongile Khumalo, & Miriam Makeba.

In 2018 the Swiss/Italian 15 piece ‘Euregio’ Large Ensemble spent the year performing Carlo’s music at festivals around Europe.

Ballets, films and Commissions
Besides the many ballets that have been choreographed to his music with performances around the world, from Johannesburg to Amsterdam, Denmark and the Ramallah Dance festival, he has also composed music for more than 14 documentaries and animations (winning an award at the Hiaff Animation festival in Tokyo 2005) and film, and have been shown at all the major art film festivals from New York’s Museum of Modern Art MOMA, to Berlin, London, Toronto as well as the Sundance Film festival.

In addition to his over 100 recorded compositions and performances with his own projects, his composition commissions include music for a mobile game for the London gaming company ‘The Secret Police’, commissions for Zim Ngqawana’s 50 piece Zimphony Ourchestra, (which Mombelli also conducted with Zim), commissions for the ‘Stockholm Saxophone Quartet’, and his piano music for the art film Exquisite Corps by Jonah Sack presented at the New York Jewish Museum.

Lutherie Urbaine
From 2007 to 2009 Jean-Louis Mechali, a composer, musician and director
of the Paris-based company ‘Lutherie Urbaine’, asked Carlo to conduct
weekly workshops in Soweto and Mamelodi teaching children and youths
to play his music on instruments built on site from recycled material. The filmmaker Sylvie Coulon documented the project in a film called ‘Sharp Sharp’.
Carlo also worked on the project with the company in Paris.

Books
Pulses in the Centre of Silence – Composition Scores and Artistry Concepts’ is published by Real African Publishing.
Mombelli’s Intergallactic Bass Book is published by Real African Publishers and Internationally by Hal Leonard.

Teaching
Carlo, a self-taught musician, has been involved in music education for many years. Starting in 1998 he held a teaching post at the Richard-Strauss Conservatoire in Munich, Germany. Since then he has taught and run ensembles at the Berklee College of Music in Boston and bi-annually at the Jazz Musik Akademie in Basel, Switzerland. In 2015, he led the DKSJ-all-star-project with 13 Masters students studying jazz in Switzerland.

Mombelli is a NRF Rated Associate Professor at the University of the Witwatersrand, Johannesburg.

Carlo’s new CD ‘LULLABY FOR PLANET EARTH’ with Wolfgang Muthspiel and Jorge Rossy was released in September 2022 on the CYH Swiss Label

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