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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Uganda's Sandra Nankoma talks about African women in music

Accueil/Non classé/Uganda’s Sandra Nankoma talks about African women in music

In 2018, Ugandan singer-songwriter Sandra Nankoma became the first East African musician to win an All Africa Music Awards (AFRIMA) for Best Female Artist in the African Inspiration Music. Now all eyes are on her, although she says she’s far from having reached the pinnacle of her career. Nankoma has been making music and performing live for about six years. Her music is rich in raw vulnerability and her lyrics impassion conversations around skin colour discrimination among black Africans – a topic she feels a deep need to talk about after she was bullied in school because of her dark complexion.

Music In Africa spoke to Nankoma ahead of International Women’s Day and the charismatic artist took the opportunity to speak to fellow women in the industry.

MUSIC IN AFRICA: What does Internatonal Women’s Day mean to you?

SANDRA NANKOMA: It reminds me of all the women who have paved the way for me, such as Miriam Makeba, Wangari Maathai, Chimamanda Ngozi and many others. This day is also a celebration of women who have done extraordinary things and excelled in fields that were previously dominated by men. Today is also a day to remember all the mothers that sacrificed their happiness and freedom to ensure that their children got the best life. There are among us but we rarely acknowledge them. 

What is it like being a female singer in Uganda?

Generally, the music industry is still male-dominated, but discrimination feels like it is on the way out. We have more women winning awards and being appointed brand ambassadors. This I believe is progress. Society is also supportive. However, my style of music is yet to ‘blow up’, but some venues are trying to promote such genres.

How would you describe the music you compose?

The music I have composed is categorised in our industry as Afro-soul/jazz. I highlight issues that anyone from my society can resonate with. I could say that in most of my songs, I am more about asking questions then giving the answer, whether the song is socially conscious or about love.

Have you ever ran out of musical ideas?

Oh yes! It is normal to go through periods that you feel empty. The solution I have developed for this is to be persistent. I just keep visualising the outcome I want and practice patience.

You have previously said that female artists are still struggling to break through. What should be done to level the playing field?

I believe that only we can help ourselves. What lacks most among female artists is support for each other. When a fellow artist has a new project or concert, be their media representative. Talk about it and direct contacts to them who will help elevate the project. Do not just sit back and watch. The world will not do it for us.

Secondly, we need to collaborate and release songs. Female collaborations are very rare, especially between established and upcoming artists. I think if we achieve this, we will be unstoppable. And lastly, I would advise my fellow artists to have excellent public relations skills. Having good relations in this industry goes a long way.

[video:https://www.youtube.com/watch?time_continue=1&v=oboZjcl_BXU width:744 height:446 autoplay:0]

You speak as though you are a woman of the people.

[Laughs] Yes I am. It is hard to be stranded musically when you are surrounded by the right people! Never be afraid to make friends in the industry, they make us! And it’s through these interactions that we learn about opportunities. For example, my recent Zanzibar circuit tour was through Kenyan musician Makadem. He shared my press kit with a person he thought would book my kind of music, and it happened. I am very grateful for this. In 2017, Suzan Kerunen channeled my first project with the French Institute, and it was through her that I learnt about the Visa for Creation Award. So, I applied for it and boom I qualified. It is incredible how the world operates, interaction is essential.

What is your advice for aspiring female musicians?
 
First, I must say that we are in an exciting time to be artists, especially if one is self-motivated and eager to learn and work very, very hard. Secondly, learn to record your own music and stay independent-minded. Do not be swayed by mainstream music because there are also tremendous opportunities for music exposure apart from the media. People are our greatest resource, and from them we get all our opportunities. 

If you could go back and do it all over again, is there anything you would do differently in terms of your music career?

It’s hard to say because looking back all the things I have done provided a certain level of learning that I needed to grow and move on to the next step. However, something that I have always wished I did was stick to my birth names. I started off as Sandy Soul. At the time, I was expressing an image in my mind that was too far-fetched from the person I am today.

Of all the songs that you have composed, ‘Kaddugala’ seems to be your favourite, and you received an AFRIMA for it last year.

‘Kaduggala’ is the story of my life and many black girls around the world. I push it a lot on social media. Perhaps that is why it comes out as my favourite. It carries a message, which is relevant today, more than ever. It is a plea to both men and women to accept their skin colour and stop bleaching.

What has the reaction been like after your AFRIMA win?

It was indeed an honour and I am very grateful. When my name was announced, I was extremely excited and then quickly became very emotional. When I came back home, the people that did not know about my music now know. I am now forced to work harder and create more inspirational music as a fully independent artist. I have been invited to play in Rwanda, Kenya and Tanzania, so I believe this was the stepping stone I needed. 

You promote independence from record labels. How has that experience been like for you?

It is harder than anything I have ever done in my life but I can say that it has its benefits. However, it can be exhausting long term because there is no team behind you to support you. I cannot say that I am a pro. It is still a learning process.

What does 2019 look like for Sandra Nankoma?

Well, I have plans to release visuals for most of my songs. I have an exciting project coming up on skin colour. I cannot talk about it now [laughs]. Plans are underway for my first European tour and I’m also going to keep on writing songs that matter. So I guess my 2019 will be a blast!

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

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