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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Johannesburg, South Africa

En service depuis :

1972

Personne de contact:

Pops Mohamed

BIO

Pops Mohamed (10 December 1949 - 05 December 2025) was a South African multi-instrumentalist and producer based in Johannesburg.

Born in Benoni east of Johannesburg, Pops Mohamed is said by many to be South Africa’s ‘unofficial minister of music’. In the '90s he began recording the music of the San from the Kalahari in Namibia and integrating it into various projects ranging from jazz and funk to drum ‘n’ bass and trance.

His nickname dates back to his childhood enthusiasm for the comic seaman Popeye. At the age of 14 he founded his first band The Les Valiants, with whom he played kwela, soul, pop and Latin music. With his band Children’s Society (early 1970s) he recorded his first hit in the townships, 'I’m a Married Man'. In the '80s, Pops worked as a producer and sound engineer, while also learning to play the mbira and other African indigenous instruments.

In 1991 and 1992 he produced for the South African market the solo albums 'Kalamazoo' and 'Sophiatown Society', both nominated for the Best Jazz Album Award at the South African OKTV awards, now known as the SAMAs. In 1995, he issued his international debut album 'Ancestral Healing', recorded in New York with New York musicians like the native American vibraphonist and percussionist Valerie Naranjo and Emma as well as with musicians from South Africa. Pops himself played the piano, the kora, the mbira and various percussion instruments. This album won the 3rd annual FNB SAMA Award for Best Traditional Performance.

Before turning to traditional sounds, he played the keyboards and guitar with eminent jazz musicians live and in the studio. The end of apartheid was for many of his colleagues a personal relief and a professional setback, since the public then rushed to hear popstars streaming in from abroad instead of their own musicians. Pops Mohamed countered by launching himself on an international career, which has since led to many tours. At the same time he took more interest in traditional music from all over the world. Fearing that it would vanish in the wake of electronic music, he wished to have it not only recorded but also suffused with modern sounds and rhythms to appeal to a wider audience. As he put it: ‘If people don't understand where they come from, there is a hole in their soul.’

Some of the countries and regions Pops has toured include the US, UK, Scandinavia, Namibia, Swaziland, Tanzania (especially Zanzibar), Germany, Switzerland, Kathmandu in Nepal and Vietnam, among many others.

Pops' most successful album is 'How Far Have We Come', the first product of his long-lasting connection to the San people from the Kalahari. In the Kalahari waste he made recordings which he then processed with a computer and supplemented with tracks made by studio musicians in Johannesburg and London. In a similar project with the singer Samia from Bangladesh, he accompanied old Bengali songs with not only traditional instruments but also keyboards and a drum machine. He has produced other records with such various colleagues as the trumpeter Bruce Cassidy, formerly with the band Blood, Sweat & Tears, the London Sound Collective, Basil Coetzee, Robbie Jansen, Gcina Mhlophe, Sipho Gumede, Khaya Mahlangu, Ntsiki Mazwai, Steve Newman, Emma Mthakathi (New York) the imitable rapper Zubz, Andreas Vollenweider, Airto Moreira from Brazil, Madala Kunene, Busi Mhlongo, Amampondo, Mabi Thobajane, Max Lasser from Switzerland and many more.

On some of his world tours, Pops Mohamed also appeared as a duo group with the London-born singer and multi-instrumentalist Zena Edwards but also with other musicians such as his Khoisan friends from the Kalahari, the Xhosa’s from Eastern Cape and a tradition Venda group. As a former board member of the JYO (Johannesburg Youth Orchestra), Pops worked and performed with the Johannesburg Symphony Orchestra.

Pops Mohamed & Friends

Pops has his own personal band simply called ‘Pops Mohamed & Friends’. This band has been together for 10 years. They have travelled in and out of South Africa making a name for themselves wherever they performed. This project is very close to Mr Mohamed’s heart since he carefully chose the band members himself. Pops’s vision with this band was to concentrate on a future South African sound which no-one has ever heard before, while also protecting and preserving African indigenous musical instruments for the 21st century.
Pops Mohamed & Friends were highly praised by former deputy president, Kgalema Motlanthe. Pops Mohamed & Friends are a five piece outfit featuring:

Pops Mohamed on African indigenous instruments, vocals and keyboards.
Femi Koya on all saxophones and flute.
Maxwell Baloyi on keyboards and acoustic piano.
Gally Ngoveni on bass and vocals
Bernice Boikanyo on drums

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His other baby project as a quartet is called ‘The Millennium Experience’ The band features Sipho ‘Hotstix’ Mabuse on vocals, flute and saxophones. Poorvi Bhana on vocals and the Indian classical Sitar. Ashish Joshi on Tabla’s and Cajon and Pops plays traditional African instruments.His current duo collaboration project is with Dave Reynolds, South Afrca’s top steel pan player. They simply call themselves ‘Acooustic Masala’ and has just released their first CD entitled ‘Live in Grahamstown’, which was nominated for a SAMA for best jazz performance for 2017 at Sun City.

Pops also features and collaborated on a track on Coenie de Viliers latest release, Emoji..the track is titled Naledi with Coenie on all keysboards and Pops on Kora. An
Animated music video was released for this track.

Apart from composing music for his CD’s etc, Pops scored the music for the forthcoming movie ‘The Whale Caller’ which was filmed in Hermanus. ‘The Whale Caller’ won an award for best African movie at the Johannesburg Film Festival earlier this year. The film is due to be screened throughout South Africa and abroad in October, 2017. Pops will also release the soundtrack of the movie in October, 2017.

With the spearhead of the underground sounds of the 21st century, Pops still loves to blend and experiment traditional music with electronic instruments for the dance floor and other spiritual platforms. One looks forward to this unusual musician’s new projects!

Mr. Mohamed is a three times Lifetime Achievement Award winner for preserving and protecting South African Heritage, especially ancient African musical instruments and the use thereof.

Links to Pops Mohamed’s work etc >>https://www.youtube.com/watch?v=GqfEPSFKCvA
https://www.youtube.com/watch?v=GqfEPSFKCvA
Pops Mohamed is currently working on his new album (Things with Strings) due to be released in the middle of 2019, followed by a country wide tour! He will also be re-releasing his hit album (KALAMAZOO) of way back 1990, in the beginning of 2019. Lot’s to be looking forward to in 2019 from multi-instrumentalist Pops Mohamed (aka) ‘The Futurist or also known by most of his followers and friends as Bra Pops!’

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Pops Mohamed - Election Day Serenade

Tigris77
03:30

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