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

Doudou Ndiaye Rose’s final collaborator

08 Sep 2015 - 15:33

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By Nathan 'Fallou' Fuhr

My mother raised me herself, with my grandmother's assistance, and my mom always told me that my name Nathan meant "a gift from God". I learned some years ago that in another language it is a verb, which means "to give".

(Ph) Nathan and Doudou N'Diaye Rose. © David Simon

This is what touched me the most about Doudou Ndiaye Coumba Rose. I had a personal rule in every rendezvous with Papi, after exchanging greetings, that I would not begin the waaxtaan before him, even if there was important Deggi Daaj work to discuss. What I discovered gradually over time, by letting him break the silence each time, was his passion for giving. Consistently, he would begin by speaking about who or what he was praying for that morning, and how many times exactly (on more than one occasion, he informed my wife and I that he was praying for us to have twins). At the beginning of Ramadan this past June, Papi was enthusiastically launching a food donation mission, in-person with his own vehicle, for those in need. His character of generosity, resonating with the meaning of my given name, was helping me to grow and know myself better... He made me a better person.

Every single encounter with Papi was a subtle learning opportunity, whether around the drumset circle or the family ceebujen bowl. I left every rendezvous with him feeling inspired, energized, and blessed. This is the one reason Deggi Daaj International Festival of Drumsets and Dance in Dakar could exist, could go from being a vision to a reality. Looking back at our 85th birthday festival for Doudou, and the three editions before that, it all seems like a kind of miracle. No structure exists for such a concept artistically, we've never found steady management, I've never had a CFA in my pocket from this lifework of almost six years... Our only currency was the most precious & invaluable: the blessings and prayers of Papi. It was the foundation of everything.

A couple weeks after our 2nd edition in 2013, I got married in the HLM5 mairie office. Doudou offered to take the place of my father. He gave a speech in the ceremony, for about 15 minutes, blowing me away... He knew my heart 100%... This is when I first felt in my life the unconditional love of a father... From this moment my heart became safe to open completely to Doudou, beyond an artistic relationship.

I first met him on 30 April 2009, backstage at Stade Iba Mar Diop, concert of Xalam. With chef d'orchestre being my calling since age 17, but with a classical western background which I had grown bored with, discovering Doudou Ndiaye Rose was no less than a completely essential & previously-unimaginable dimension for me artistically... A gift from God.

We collaborated together for four years, as double wild chefs d'orchestre with our double orchestras of Sabar and drumsets. The expressions on Doudou's face on stage confirmed for me that the unique joy was indeed mutual, machallah... A synergy which surprised us both, & grew more intimate each year.

In the final show of Deggi Daaj International 2015 and ultimately of Doudou as well, on 1 August 2015 at the Jardin of the Hotel de Ville, it was somehow precious that Papi did one thing which he had never done before, and he did it three times. He took my hands and danced with me, simply and graciously, childlike. In retrospect, in mystic terms, it was his gratitude & goodbye dance. Also in that show, in the climactic minutes, I had a soul-beguee impulse to run the big circle within the perimeter of audience (it was a Tanebeer formation)... During the second revolution, I noticed that 180 degrees across the circle, Papi was joining me, running as well... I turned my head to him directly for a moment... That was the last shared smile of surprise synergy which we shared.

I don't have the habit to remember my dreams. In the first hours of 19 Aug 2015, in the final phase of my night's sleep, I had a vivid dream, a dream of that circle running scene... But three things were different: 1) It was a still-frame, frozen in time, of the moment I looked across the circle and caught Papi smiling at me. 2) The distance across the circle was now astral, other dimensional. 3) Papi's smile and contentment was radiant, pure light... Shining his peace at me from a heavenly distance...

It was a few hours later, when my phone began ringing with calls from brothers in Senegal, that I understood Papi was smiling to me from the other side of the circle of life. In divine eternal peace... ci loxo Yalla... Alhamdoulilah.

Before traveling after Deggi Daaj International each year, my wife and I have the habit to visit Papi, listen to his reflection artistically on the shows, tagu, and pray together. Our last waaxtaan was on 4 August... It excited me to my soul when Papi shared that he had a new rhythm being composed in his head, which was a creation for Deggi Daaj & the family Sabar orchestra. We planned to start birthing it on his repetition terrace in HLM1 upon my return in November. I only regret not asking him to sing it a bit, this final creative chapter of his epic body of rhythm science.

Ultimately, with his yin-yang balance of humility & shamanic force-of-nature artistry, Doudou enlightened my vision of humanity.

Luckiness > sadness > deepest gratitude...

I still can't imagine this world without the influence and grace of Doudou Ndiaye Coumba Rose... I still cry... But my heart's memory of those intimate angelic smiles on stage is guidance, that I must cultivate the synergy in new ways yet unconceived, to now live my artistic life as a celebration of all the xam-xam, trust, and blessings he so generously shared with me. And humbly try to make the world a little better place for others in doing so.

Mangi jalé Thiouna Ndiaye Rose.

I'm excited by the possibilities and synergies among the many dear Ndiaye Rose brothers and sisters in the family. It's been a profoundly real and touching 13 days of sharing deep waaxtaans, tears and beguee with new brothers who live abroad and flew back to Dakar immediately, as I did. My Facebook inbox has exploded with messages of gratitude from second and third generation Ndiaye Roses scattered all around the globe, some calling me Nathan Ndiaye Rose, machallah... I hope some of the drummers consider settling in DK, and remain freethinking voices in the new creative dialogue of exponential possibilities at hand, in support of wherever papa Thiouna feels to take the music... Perhaps it's a whole new beginning, with every tege as a nyan, everblessing Doudou's divine smile and making him a supremely proud papa in paradise.


With respect to the non-Wolof speakers: Waaxtaan = conversation; Ceebujen = rice & fish; Beguee = soul happiness; Tagu = go say goodbye; ci Loxo = in hands; Xam-xam = wisdom; Tege = hitting of the drum; Nyan = prayer.

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