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

Bassline Fest: Ladysmith Black Mambazo to rekindle love for Mandela

25 May 2018 - 13:51

cc-img flag-img

Ladysmith Black Mambazo are unquestionably South Africa’s best choral group that keeps flying the country’s flag high. Founded by Joseph Shabalala in 1960, the nine-member ensemble gained prominence when they collaborated with US singer-songwriter Paul Simon on the Graceland album in 1986.

Ladysmith Black Mambazo with Nigerian singer Yemi Alade at Nelson Mandela's house in Soweto, Johannesburg.

Ladysmith Black Mambazo with Nigerian singer Yemi Alade at Nelson Mandela's house in Soweto, Johannesburg.

The iconic isicathamiya group’s music has impacted on the lives of many people – ordinary and influential – and is credited for preserving the country’s cultural industry through their rich music and traditionally inspired choreography. A favourite of Nelson Mandela, the award-winning ensemble caught the attention of the former statesman, which prompted him to declare the group as South African cultural ambassadors.

The group, which boasts five Grammys, has played around the world as part of a career spanning more than five decades. Their headlining performance at Bassline Fest in Johannesburg on 26 May, which celebrates Africa Day and commemorates Mandela's legacy, will rekindle the personal relationship they enjoyed with the struggle icon.

Ladysmith Black Mambazo member and son of Joseph Shabalala, Sibongiseni, spoke to Music In Africa ahead of the pan-African concert in Johannesburg.

MUSIC IN AFRICA: What are your expectations at Bassline Fest?

We're looking forward to perform for our South African fans. It’s different when you perform overseas for an audience that doesn’t understand the language and does not know the songs. So when we perform in South Africa, we look forward to seeing people enjoying our performances because people know us.

What significance does Africa Day have on you as artists?

Africa Day is important for us as Africans to know who we are because it’s about knowing our identity. For us as Ladysmith Black Mambazo, Africa Day is important in the sense that we are doing traditional music and it’s easy for us to compete with the rest of the world based on what we know. You don’t have to try to change yourself by imitating other people. People will accept you when you know who you are. It’s very difficult for someone to succeed if they don’t know their identity. So Africa Day reminds us to remain conscious and true to our African roots.

What’s the significance of Nelson Mandela’s legacy on Africa Day?

As Ladysmith Black Mambazo we have a history of working with Nelson Mandela, our leader. After coming out of prison in 1990 he had his birthday at Carlton Centre in Johannesburg in 1993 and he invited Ladysmith Black Mambazo to perform. It was a happy moment for me. It was such a great honour because I was still young. It was the year I joined the group. That day was my fifth or sixth performance with Ladysmith Black Mambazo. We have a great history with uBaba Tata Mandela. I just wish he could have made it to a 100.

Is your father, Joseph Shabalala, still active in the group?

No. My father is no longer active in the group. He just stays at home. We visited him at home recently because we had just arrived from tour after winning the Grammy in January. So we went there to show him the fifth Grammy and he was very happy. He still gives us advice here and there but he is taking his time enjoying his retirement at home.

Who is leading the band now?

My father left four sons in the group when he retired. He told us to continue working together so that the group remains strong. That's basically what we are doing, taking leadership from two founding members who are still in the group, namely Albert Mazibuko and his brother Abednego.

Your present and future fans would want Ladysmith Black Mambazo to keep going for many years to come. People pass way, some retire. Do you have plans to keep the group going as an intergenerational effort?

My father's tradition is that everyone at home, even those who visit, sing with us. Ladysmith Black Mambazo doesn’t do closed rehearsals. Everybody around us rehearses with the group. So when someone retires, it’s easy to replace them with someone who can fit in their shoes. We don’t do auditions because we need someone who knows our songs and culture.

Why did you rerecord Shaka Zulu, an album that was originally released in 1987?

We went back to record it to celebrate the 30th anniversary of the album, which also won the Grammy. The other reason was to honour our father and other members who had retired from the group.

Any future collaborations?

Oh yes! We welcome anyone who wants to collaborate with us. We recently recorded a song with Lira, which will feature on her album, and this year we spoke to Salif Keita who wants us to put some voices on his song.

Please log in to post a comment.

Most popular

Disclaimer: Music In Africa provides a platform for musicians and contributors to embed music and videos solely for promotional purposes. If any track or video embedded on this platform violates any copyrights please inform us immediately and we will take it down. Please read our Terms of Use for more.

newsletter banner

Subscribe to our monthly Newsletter

Follow us on social media