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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FEMUA: A guide to Ivory Coast‘s favourite music celebration

Accueil/Non classé/FEMUA: A guide to Ivory Coast‘s favourite music celebration

Today, Anoumabo is widely known as the birthplace of the famous Ivorian music group Magic System, led by A’salfo, the founder of FEMUA. The neighbourhood has become synonymous with the vibrant urban music scene in the Ivorian capital. Fifteen years in the making, the aim of the festival is to promote African music and culture, and to raise awareness about social and environmental issues.

Music has always played a crucial role in the cultural identity of Abidjan. In the late 1990s, the city’s music scene was revolutionised by Magic System, which combined traditional African rhythms with modern electronic beats, creating a unique sound called zouglou. Magic System’s infectious tunes and energetic performances quickly gained international attention, turning A’salfo and his bandmates into one of Africa’s most well-known music groups. Their most popular hit, ‘Premier Gaou’, remains a classic anthem of Ivorian music and has recently been brought back into the limelight in new parts of the world by electronic music stars like Francis Mercier, Black Motion and Nitefreak.

Over the years, Magic System’s success has inspired many other local artists to pursue their passion for music and has significantly contributed to the development of the urban music scene in Abidjan.

If you ever make it down to Anoumabo for FEMUA, below is a quick guide to help you navigate the festival and learn a little something along the way.

What to expect

Being one of the largest West African festival-conference to date, FEMUA turns out large crowds and plenty of opportunities to learn about the beauty and cultural heritage of Ivory Coast, along with its chosen partner country, which happened to be Togo in 2023. FEMUA takes place over several days and features a diverse range of musical styles, including all sorts of traditional African music, reggae, hip hop and pop. Each time the festival is held, awareness and funds are raised for a specific cause, such as education, health or the environment. In the past, FEMUA has supported initiatives such as the construction of schools and hospitals, the distribution of mosquito nets to prevent malaria, and the promotion of renewable energy – showing the local community just how beneficial the arts can be in changing lives.

During the first few days, you’ll be treated to showcases that highlight the connections between neighbouring countries in the region, through a series of workshops and shows called Carrefour Jeunesse – the youth focus. In one such workshop, artists such as Roseline Layo and KS Bloom geared up to talk about their careers, entrepreneurship opportunities and how social media came to their aid.

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What to learn

There are a few spaces to enjoy at the festival grounds, which are held at the National Institute of Youth and Sports (Institut National de la Jeunesse et des Sports), better known as INJS Marcory. The Village Stage has thousands of plastic chairs and tables ready to be commandeered, lined with stalls known as maquis ready to serve you. Present are upcoming artists such as Oprah, Josée Delatour and Defty, showing their stuff in the hope of being booked for the equally massive Main Stage the following year. While you’re enjoying the zouglou tributes and showcases, kids can keep busy at the FEMUA Kids area, where jumping castles, slides and roundabouts are monitored for hours on end. 

Since the festivities start early in the day, you’ll have time to get to know a bit of the local lingo. In Anoumabo, French and the local dialect Nouchi are common. Nouchi appeared in Abidjan toward the end of the 1970s, coming from the Manding words nou (nostrils) and chi (hairs) or ‘nose-hairs’, a nickname used to describe street kids. A mixture of French, English, Spanish, Dioula, Baoulé, Guéré and many more dialects and phrases are combined to form a street-savvy tongue in working-class neighbourhoods, which always comes in handy when ordering a drink from the local sellers.

What to eat

Speaking of drinks, be mindful that the beverages at the Village Stage don’t come in singles, so bring your friends along to help you stave off the constant heat. Affordable and abundant, the local beer called Bock is usually referred to as “La 66” (le soixante six) in Nouchi, so show off your newfound linguistic skills here.

To eat, alloco (plantain), attiéké (fermented cassava), poisson braisé (grilled fish) and boiled eggs make for delicious snacks made fresh every day. Most importantly, Ivory Coast is the world’s largest producer of cocoa beans. However, the country has struggled in the past to develop a strong chocolate production industry. In light of the theme of food safety and sustainable agriculture this year, it’s helpful to know that Ivory Coast is fighting the good fight in producing its own chocolate and cocoa products rather than exporting their abundant harvests to be sold back by the West. So, if you see a seller with a tub of locally made chocolate, help the greater cause out by indulging and gaining a sweet snack in the process.

What to look (and listen) out for

Exclusive previews of new music from the artists on the line-up are always a treat at FEMUA, and this year Santrinos Raphael, a Togolese singer-songwriter who has recently risen to fame, debuted his new single ‘On Va Pas Divorcer’ (We Will Not Divorce) on the FEMUA stage – a love song that holds all the warmth that made him famous to begin with. Singing in French and Ewe, spoken mostly in the south of Togo, Santrinos has made his way to Ivory Coast on multiple occasions since 2000, and has built a steady fanbase across the Francophone countries.

“FEMUA is always going to be a big party,” he says a day before his main-stage performance. “There’s just a little bit of pressure, because I’m representing my country, but I’m grateful that I have been chosen to come and perform here because I have a lot of fans in Cote d’Ivoire who support me, and I do this for them. I’ll do my best to make them happy.

”I’m considering performing the next song I want to drop, ‘On Va Pas Divorcer’, and since it’s already trending on TikTok, I think it’ll go down well. Already after four days on Tik Tok, we have more than 1 million views, and more than 20 000 stitched videos. I wrote it the last time I was here in Cote d’Ivoire. There was a friend I was with who was in a relationship. I was driving the couple and the woman was talking about how she wanted to break up, and this was the inspiration for the song. I felt for my friend and how much he wanted to stay together.”

What to remember

FEMUA always coincides with Africa Month, and ‘The Voice of Wakanda’ Baaba Maal was in attendance this year, with plenty to add to the festival’s Afro-conscious undertones. The music legend was recently appointed as a goodwill ambassador for the United Nations Convention to Combat Desertification, and his presence was a huge signifier for what FEMUA stands for: a united, prosperous Africa that can advocate for, produce for and sustain itself and its people.

During his performance, he gave a rousing speech imploring young people to be proud and to never “bend their heads down” to anyone else:

“The sun is bright in Africa all year round. The rivers flow and the oceans are large and no young person who can do what they want at home should ever need to leave. Count on yourself and do your best to say you are the one to build the future of Africa. I’m so proud to be an African, and I’m very optimistic about the future of Africa, even with so many things we don’t wish for on this content, like the situation in the Sahel, security and the lack of education for people who are displaced from their families. When you listen to the communities in Africa, especially the young ones, you see them headed for a great future. They are attracted by technology, by social media and they are changing their ideas. They are proud to say, ‘Now we are African’, and the world is expecting something really great from us. I can feel it! Everyone is looking at Africa, counting on Africa, trying to collaborate with Africa, and we have everything we need to see it through.”

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