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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Old Zimbabwean songs predicted today's struggles

Accueil/Non classé/Old Zimbabwean songs predicted today’s struggles

Mpofu sang about a “know-it-all” character called Guranzira, who claimed to be leading his people to Canaan (biblical), but they ended up complaining that they were moving in circles rather than progressing until they lost faith in his leadership.

Mpofu sings in the track: “Wakatirasisa nzira dzakawanda, gwara rako chairo nderipi, namanje tichiri musango, Guranzira wakanangepiko… Guranzira tanga tichikutemba kuti ndiwe uchatitungamira kusvika tasvika Guruve, namanje tichiri musango…. vana voziya hona vodya tsombori…” (You have led us in the wrong direction. We placed our trust in you, but up to this day we are still stuck in one place and our families are hungry).

[video:https://www.youtube.com/watch?v=yKYJsUITP_4 width:744 height:446 autoplay:0]

Many people today feel the same about Mugabe, whose government has dismally failed to turnaround the country’s economic situation, with the majority of citizens having been impoverished.

But Mugabe is still convinced that he is probably the best thing that ever happened to Zimbabwe, and will probably dismiss these sentiments as mere destructive gossip peddled by opposition political outfits. He could as well be singing along to Tongai Moyo’s ‘Muchingonyeya’: “Musazvinetse nezvandinoita mano angu ndinopihwa naShe.” (Don’t worry about me. I get my wisdom from God.)

[video:https://www.youtube.com/watch?v=yVuMqWIEB7c width:744 height:446 autoplay:0]

But as a president who is supposed to be accountable to the people, citizens have a right to be concerned when they sing Moyo’s ‘Rugare’, asking questions about who has robbed the citizens of their source of livelihood. “Ndianiko waviga rugare, ndianiko watipa kutambura nyika yenyu Ishe yave rengenya.” (Who has stolen our well-being? Who has impoverished us? Lord, the country is now in tatters).

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

Mpofu and Moyo could just be the few of the many “musical prophets” whose songs chillingly predicted the hardships afflicting contemporary Zimbabwe.

Go back to 2001 when the legendary Thomas Mapfumo sang ‘Kuvarira Mukati’ (suffer in silence). Mapfumo, at the time, suggested that Zimbabweans were hurting silently. Tragically, the picture he painted is still obtaining in 2017, when the majority of Zimbabweans suffer silently in a country where speaking negatively about Mugabe’s failed leadership style can get one into trouble.

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Award winning musician Clive Malunga weighed in with ‘Nesango’ in which he moans: “Tinongoti mberere nenyika vamwe vakagarika zvavo mudzimba umu.” (We are struggling hopelessly wondering around the country yet others are living a good life in their homes.)

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

With the majority of Zimbabweans living below the poverty datum line and struggling to eke out a living, the first family’s sons are living large, with their extravagant lives documented in the public media. Just recently, first lady Grace Mugabe bought a pricey Rolls Royce a week after her son, Russell, purchased two Rolls Royce cars and other vehicles worth $2.5m.

As Zimbabweans traverse the length and breadth of the country and cross the borders in search of a little income just to keep their families alive for a day longer, only a few politically-connected individuals are living large.

Ironically, ‘Nesango’, sung in the late 1990s, was meant to chronicle the struggles that liberation war fighters went through while fighting against the colonial regime. The same, however, now applies to Zimbabweans who are struggling in the hands of the “liberator”.

The late master of song, Simon Chimbetu, a liberation war hero, in ‘Ndima’, eloquently captured the gap between the rich leaders and the poor masses: “KuBudiriro kwedu kwatinogara havawanikwe …paChitungwiza pamusha wevanhu havagari.” (The leaders avoid our poverty-stricken Budiriro and Chitungwiza neighbourhoods.)

[video:https://www.youtube.com/watch?v=z79DYyu_-qw width:744 height:446 autoplay:0]

At the time of the song, Chimbetu was referring to the white minority, but the same can be said of today’s government officials, who shy away from the impoverished communities, and only come during campaign time where they flaunt their obscene wealth and throw crumbs to villagers to secure votes.

The late Marshall Munhumumwe too must have been prophetic. In ‘Ndongosienda’, he is a voice of today’s unemployed and frustrated Zimbabwean who is wandering around hopelessly, singing: “Vamwe vakazvarirwa munhamo, vakafira munhamo. Vamwe vakazvarirwa murugare, vakafira murugare. Zviya zvekuti rugare tange nhamo zvakapera shamwari.” (Nowadays if you are born poor you will die poor. If you are born rich you will die reach. No one can cross the huge divide.)

[video:https://www.youtube.com/watch?v=AWeWanajX1I width:744 height:446 autoplay:0]

In Zimbabwe, a country riddled by corruption and nepotism, the easiest path to making money is to be linked to politically connected individuals. Hard work no longer pays. Thousands of graduates are now doing odd jobs to survive.

Munhumumwe’s cry is buttressed in Progress Chipfumo’s ‘Varombo Kuvarombo’ where he is also the voice of a typical depressed Zimbabwe.

The few privileged have access to wealth and at the end of it all the now disbanded Mufakose Express’ paints the true feeling of the ordinary Zimbabwean who — neglected, troubled and forgotten — can only sing: “Baba muchauya rinhi kuzonditora baba, ndafunga ko kumatenga, baba makandikanda mubani rino rine mafeso ndisina changu ndobaiwa.” (Lord when will you take me? You have thrown me in the jungle and I have been wounded.)”

[video:https://www.youtube.com/watch?v=sMzjlgP6jbw width:744 height:446 autoplay:0]

This article first appeared in NewsDay on 11 October 2017.

 

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