NEFCISA
NEFCISA

The Music In Africa Foundation (MIAF) is proud of 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 running a national programme that is creating jobs, addressing skills gaps, and strengthening 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 is recruiting and training participants, matching them with host organisations, and has already placed 1 500 workers across the country — surpassing its original target of 1 000. NEFCISA is delivered through a network of 20 host organisations spanning five provinces, who are actively hosting participants and contributing to work for the common good across South Africa's creative and cultural industries. 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

ACCES Conference and Showcase Festival is Africa's leading music industry gathering, bringing together the people shaping the future of the continent's music business. Artists, entrepreneurs, executives, investors, policymakers and cultural leaders from across Africa and around the world come to ACCES to build partnerships, exchange ideas, discover talent and create new business opportunities. Since its launch in 2017, ACCES has become the continent's premier platform for professional exchange and music market development. Combining a high-level conference with a curated showcase festival, networking, exhibitions and industry programmes, ACCES offers a unique space where creativity meets business and where African music connects with the global industry.

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

For cultural and creative practitioners and organisations operating in southern Africa, access to funding remains a major challenge. The COVID-19 pandemic has also had a massive impact on government policy, spending and the economy in general, and has seen spending on culture being moved further down the list of priorities. Further, the cultural and creative industries repeatedly cite four main areas where investment is needed for growth, which are increased visibility, mobility including access to new markets, finance and support structures.

Instrument Building And Repair Project
Instrument Building And Repair Project

Experience the Vibrations African Instruments Exhibition online in 3D

Features

African music industry remembers Manu Dibango

27 Mar 2020 - 11:01

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The African music industry lost a legend when Manu Dibango passed away from the coronavirus on Tuesday.

Isaiah Katumwa and Manu Dibango playing together in Kampala, Uganda.

After hearing the tragic news, many African artists and music professionals shared on social media condolence messages, photos and footage of Dibango's live performances throughout the years, while Music In Africa received a number of messages from people involved in the African music industry in tribute of the great musician.

Below is what they had to say:

Isaiah Katumwa (jazz musician, Uganda)

"The late legendary Bra Hugh [Hugh Masekela] introduced me to many great African legends, which included the great Dibango a few months before he passed. I have grown up musically with admiration of not so many musicians, but among those few Dibango was one of them. In 2018, I had the honour of inviting him for my 2018 annual show, Jazz with Isaiah Katumwa, where together we gave a tribute to Masekela, the friend we shared and who also brought us together. I treasured the opportunity to watch him closely and learn from his wealth of knowledge, experience, and consistency. I particularly remember a one-on-one we had with him after the show. He was a happy man, humble, a true legend, an inspiration, and a role model. Africa has recently lost the people who could remind us where we are coming from to help us know better where we are going."

Erick Soul (Afrogroov founder, Rwanda)

"I was hanging out with his good friend and long-time collaborator, Cheick Tidiane Seck, a musician-producer, and we were talking about a collaboration with Rwandan music and Manu Dibango was supposed to be part of it. Even after hearing of his hospitalisation, I was entertaining the idea of having him doing his first show in Rwanda, to celebrate his iconic status and his contribution to music. It is of the utmost importance to celebrate an icon while they are alive. We have a youth-obsessed culture but these few guys we have left are the foundation. That connection is important. Dibango managed to remain relevant through trends, fashion – decade after decade for 60 years! So influential to many, so impactful. He was nothing short of a true magician, endowed with spirits and power to accomplish all that he did, and so effortlessly."

Christine Kamau (jazz musician, Kenya)

"It is not possible to adequately describe the contribution that a musician of Manu Dibango's stature made to African music. I admired him a lot. I remember being blown away by his music when I first encountered it: the catchy horn lines, not to mention his unmistakable soothing deep bass voice. Songs like 'Africa' and 'Soul Makossa' were the soundtracks of a young liberated Africa in the 1970s. The fusion of funk and soul music without losing the African touch and identity was distinctive and unique to his music. He was one of the few African music legends left. Losing him leaves a gap that can never be filled. May he rest in peace."

Alif Naaba (musician and producer, Burkina Faso)

"The first time I met Manu Dibango was in July 2007. I was on tour in France and I was supposed to do a show with him on Radio Africa N°1. That day I met a father, a scout and a great artist. He told me he liked the song 'Boin Gninga' from my album Foo. This meant a lot coming from a giant in music like him. Since then I kept an image of him as a man immensely rich in soul and spirit. Papa Manu Dibango was a compass for Africa. This is a great loss for world music."

Liban Noah (Dur-Dur Band International manager, Somalia)

"Growing up, I vaguely remember a picture of my mum listening and dancing to Manu Dibango's 'Soul Makossa'. As a band, we shared a platform at Oslo Mela 2019 in Norway where he was also performing. I have some pictures I took with him and Maryan Mursal, Somalia's greatest singer and performer, as well as singers Abdillahi Ujerry and Saleh Hariri. They were all excited to meet him, they couldn’t believe it. He was one of the best musicians the continent has ever produced and his influence spread across the continent. May he rest in peace."

Doudou Sarr (Youssou N'Dour manager and founder of the Dakar Music Expo, Senegal)

"It was a sad day for Africa and the music family. A huge loss. God bless his soul. He will always be remembered as an excellent musician and one of the pioneers of African music crossing over to new audiences around the world with his classic Soul Makossa style."

Mory Touré (cultural journalist, Mali)

"Manu Dibango opened the door of African music to the world stage. He's been a compass for African artists and a beacon for us, cultural journalists, to magnify African music. Alongside his excellent mastery of music, he had unparalleled generosity. That is why he rubbed shoulders with all the big names in world music. There are people who write history and people who make history. Dibango did both."

Lydol (slam poet, Cameroon)

"There are no perfect words that could describe the vastness of your talent. In the hour on the day before you fade, a brighter light comes out. You go from life to eternity because legends don't die. You have inspired generations and tomorrow our sons will learn from you. I didn't have the chance to see him up close, but his melodies have accompanied me in many situations. Those who had the chance to talk to him have told me that behind the icon was a man of great humanity. The stage and our hearts will miss him. Rest in power, Papy Groove."

Tabu Osusa (music producer and author, Kenya)

"I was fortunate to meet Manu Dibango and the conversation we had was on the evolution of Congolese music. He had a deep knowledge of the continent's diverse musical traditions, having played with African Jazz, which was Congolese rumba maestro Joseph Kabasele's band in the early 1960s. Dibango was not only a legend but one of Africa's musical geniuses, in the league of Miriam Makeba, Fela Kuti and Hugh Masekela. History will remember him for being among the first few African musicians who made it both locally and internationally. His blend of jazz though deeply rooted African rhythms, Cameroonian makossa to be precise, was still very much appreciated by fans and connoisseurs of traditional Western jazz. His legacy should go on. Someone needs to take up his mantle."

Fiston Lusambo (composer and guitarist, DRC/UK)

"I did not play with Manu Dibango but my father, Yaka Antoine Depuissant, played in the same band with him in African Jazz. Growing up and interacting with his music, I came to appreciate his skills in song composition and arrangement. He was brilliant and a proud son of Africa."

Juma Tutu (jazz musician, Kenya)

"It's indeed very sad losing a great African icon and great saxophonist. His achievements over the years kept me believing that it's doable and I'm sure it motivated most African saxophonists. It was great sharing moments with him both on and offstage during his maiden performance in Kenya at the Safaricom International Jazz Festival in 2018. His coming to Kenya excited me. I got the opportunity to play a set with him alongside my mentor, Mzee Ngala, who travelled from Mombasa to Nairobi just to have a few minutes on stage with Dibango. That moment remains one of the highlights of my career as a jazz musician."

Etuk Ubong (jazz musician, Nigeria)

"I would say Manu Dibango was the African John Coltrane and Charlie Parker put together. He was one of Africa's great because of his brilliant and unique ways of fussing jazz with traditional makossa dance music. His style and approach towards improvisation were breathtaking. That affected me and funny enough it reflects in my music as well. That way his legacy will continue to live in me, and I'm sure many others."

Hassan Mahenge (saxophonist and educator, Tanzania)

"Manu Dibango was a mentor and role model to many Tanzanian Afro-fusion artists. Most of us learned his music through tapes, CDs and YouTube. I used to teach music to young Afro-fusion artists in 2003 and I made them listen to Dibango's musical arrangements. Frank Massamba, who is arguably among the best saxophone players in East Africa, called me after Dibango's death and said: 'The great Manu Dibango is gone. He was my teacher and role model on the saxophone. I learned how to play the saxophone from him and Ben Webster.' May he rest in peace."

George Charonitis (music editor, Greece)

"Manu Dibango's 'Soul Makossa' was a big hit in Greece between 1972 and 1973. It introduced us to a new trend called Afro-soul and afro-jazz. In the late 1980s to the early 1990s, Dibango became one of the most successful African musicians. He gave a lot of performances in Greek cities, nine of them in the last decade. We had the chance to meet a wonderful musician and a very humble person. His legacy is evident in music such as jazz, soul, reggae, Latin and so on. The rest is history, recorded music, and memories. May he rest in peace."

Isack Abeneko (musician, Tanzania)

"Manu Dibango's music has been so diverse and evident in many genres and cultures. He placed Africa on the world map in terms of music. The COVID-19 outbreak has affected our economic, social, creative and cultural sectors. So for many artists losing Dibango was like adding salt to an open wound. I urge the public to follow the advice on how to combat this virus and we shall overcome. We cannot afford to lose more people. May his soul rest in peace."

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