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.

Accueil / Artistes et industrie / Juma Tutu and the Swahili Jazz Band
Juma Tutu and the Swahili Jazz Band

Juma Tutu and the Swahili Jazz Band

Bands /groups, Community music centres
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Profil ajouté par Lucy Ilado on 27 Sep 2019

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Mombasa, Kenya

En service depuis :

2003

Personne de contact:

Juma Tutu and the Swahili Jazz Band

BIO

Juma Abdallah Atibu and the Swahili Jazz Band.

His interest in music started early influenced by his father who was a prominent and popular musician. Juma learned to play different musical instruments including percussion, drums and keyboards, but his passion and instrument of choice is the saxophone.

After completing his high school studies in 1998 Juma joined Generations Band on the recommendation of his father who wanted him to hone his musical skills. Juma credits the then band leader Muhammad Amin, a friend to his father, as being one of his earliest mentors who passed a lot of musical knowledge on to him.

In 2000 Juma went on to join the famed and much beloved Bango Sounds of the legendary Mzee Ngala. Being a renowned and experienced saxophonist himself, Mzee Ngala was a big influence and inspiration to Juma’s sound and playing style.

Later that same year Juma Tutu was recruited as the main saxophonist by the Wazalendo Band. The following year in 2001 he was again recruited by Them Mushrooms. Juma states that this was his biggest break at the time because Them Mushrooms were a household name and a very busy and active band. While in Nairobi Juma also took up teaching where he taught music, specifically saxophone playing.

In 2003 Juma received sponsorship to purchase musical equipment from one of his saxophone students, business man Albert Attias. This inspired Juma to start his own band whom he called The Tutu Band.

The Tutu Band went on to become popular and performed at numerous local functions like weddings and at hotels and corporate functions. In 2004 they travelled to South Africa as the backing band for Kenyan reggae sensation, the late Mighty King kong. On their return, they took up a two year residency at the Village Market Mall and Serena Hotel.

Juma Tutu was nominated as a finalist of the inaugural Spotlight on Kenyan Music program in 2005. He recorded and released his song Sukari as part of the Spotlight on Kenyan Music volume 1 compilation. Sukari became a Kenyan anthem and cemented Juma’s name in the Kenyan Music Industry. It brought his unique sound to the limelight and earned him high profile performances and recognition. Inspired by this new found fame Juma went on to record his debut album titled Kimombasa in which he pays homage to the Swahili culture practiced in his home city of Mombasa. The album was released in 2008.

In 2010 Juma Tutu and The Tutu Band teamed up with another Spotlight on Kenyan Music alumni Makadem for a series of shows and performances which included Makadem’s performance at the Sauti za Busara Festival in Zanzibar.

In the same year, Juma was recruited as the Band Leader and Musical Director for the Safaricom Live Project, a project that saw him tour the country and perform with various top Kenyan and regional artistes for the following two years. In 2012, Safaricom rebranded the project as Niko na Safaricom and renewed their relationship with Juma for another year.

Following this experience, Juma rebranded his band as The Swahili Jazz Band. He says this was necessary so as to announce his musical identity which is influenced by the various ethnicities and cultures that merge into the Swahili culture he grew up in, in Mombasa. He is influenced by the 9 Mijikenda tribes of the Kenyan coast as well as by the Asian and Arabic cultures.

In October 2014, Juma Tutu in collaboration with one of his mentees, Swahili Hip-hop artiste Nafsi Huru co-produced an award winning Musical play dubbed Uswahilini, performed by The Swahili Jazz Band, Iemas Dancers, Nafsi Huru and The Maskaredas Comedians.

Uswahilini is an intriguing Musical Play telling the story of the Swahili People detailing their origins, struggles and achievements. The play highlights different aspects of the Swahili culture and lifestyle through music, poetry, comedy and dance as the main instruments of communication.

Juma is determined to share his art and talent with others. He is a mentor to his band members and has also written songs for many successful Kenyan artists. Juma has penned lyrics and music for artistes such as Nina Ogot, Sauti Sol and Alai K (aka Disco Vumbi). His songs Undugu and Sukari are popular cover songs for numerous bands as well as a top choice for young artistes in talent shows.
Juma Tutu is a community leader and is passionately involved in mentoring young artists, running music programs on various platforms. He has been determined to share the knowledge he has acquired over the years.

He is a teacher and the Music Director at KCCL (Kenya Community Centre for Learning), an international school giving special kids an opportunity to learn through music, Juma Tutu has formed the first band in Kenya with children with special needs as players. He is also the Co-Director of Twende Music Master Class, an enlightenment initiative aimed at empowering needy talented individuals with proficiency skills in live Music.

Through these initiatives, Juma Tutu has developed an Alternative Music syllabus which he has successfully implemented into his music teaching curriculum through the years.

In February 2018 Juma Tutu was contracted for a month by the Italian Association of Jazz Musicians to host and mentor Italian Jazz artist Matteo De Leornado, who had won the Artist in Residence (AIR) competition in Europe as best guitarist. In 2019 Juma and Leonardo released a collaborative project titled Kabisa.

In 2020, Juma Tutu was the curator and Musical Director of the Madaraka Festival which was held digitally and featured performances by artistes from Kenya, Ghana, Nigeria, Spain, France and the USA. He recently released the first single Huku na Huku, from his forthcoming project of the same title.

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