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

Getting to know Uganda’s newest music festival, Nyege Nyege

07 Jun 2016 - 08:12

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The last decade has seen many new genres of music emerging and older ones transforming, but few people outside their countries of origin get to hear these new styles, particularly before the reach the mainstream. Now in its second edition, Nyege Nyege International Music Festival in Uganda provides a platform for music lovers in East Africa to experience the latest trends in music from across the continent.

The founders of the festival, Arlen Disizilan and Derek Debru, spoke to Music In Africa recently to explain their vision for Nyege Nyege, which returns to Nile Discovery Beach in Jinja between 2 and 4 September.

Fans enjoy music at the 2015 Nyege Nyege Festival. Photo by Nekane R.de Ozamiz

Derek and Arlen have been working since 2011 on developing the music scene in Uganda, particularly Kampala and its surrounding areas. Through their Boutiq Foundation, they have worked with talented underground musicians, hosting monthly artists’ residencies as well as setting up studios and hosting events. Artists they are working with this year include South African-Mozambican trio Batuk, Jesse Hackett from the Owiny Singoma Band (UK/Kenya) and North African electronic music collective Arabstazy.

The birth of Nyege Nyege

With Nyege Nyege, Derek and Arlen say they wanted to estabalish a festival that could showcase the exciting transformations in contemporary African music. “Hipco from Liberia, Balani from Mali, Electro Chaabi from Egypt, Moroccan Bass and Funana from Cape Verde are sounds that are not fully experienced on the music scene and we wanted to bring them to the people,” they explained.

After working with talented underground musicians and playing alternative African music at their parties, it was only a matter of time before this evolved into a full size festival. Derek explains: “In 2015 we had invited Riddlore, the legendary LA underground MC/producer to come to Uganda for a residency. He readily accepted and came for three months. At the same time, DJ Zhao, the Berlin-based rhythm ambassador from China, also accepted our call for residency. Then we got some support from the Scotland cultural ministry, and we got world renowned reggae soundsystem Mungo’s Hi-Fi to come to Uganda. That was our second African premiere. All of a sudden things started to look like a festival."

Having worked with many artists in Uganda, they knew that the demand for such a platform was very real. Using some of their savings, the two started testing the waters with different artists to see the feasibility. So the debut edition was scheduled for 16 to 18 October 2015, but the organizers had not factored in many other things such as the weather. Throughout the three days of the festival, it rained heavily and they had to incur unexpected costs. They incurred losses for the first edition, and have therefore moved the festival forward to September for this year's second edition.

The festival's name evokes different meanings among the East African countries. While in Uganda it refers to the uncontrollable urge to dance, for Swahili speakers nyege has sexual connotations. Derek explains: "The first time we heard the word was from a friend in Uganda. It was a Friday afternoon and we were setting up for a party for that evening. We set up the soundsystem and the DJ played this Owiny Sigoma Band track we hadn’t heard before. Our friend said, “Hey I’m feeling ki nyege nyege.” I asked what that meant and a few people got into the conversation, explaining that this is when you feel you want to dance.

“We found out that Nyege Nyege also had sexual connotations for some, especially in Swahili. So for once Uganda was going to have the upper hand in appropriating the meaning of a word. We thought it was a double meaning worthy to play around with and it just sounded so perfect, so we went for it!”

Festival programming

With festival programming being a key element for the success of any festival, Nyege Nyege works with various music enthusiasts around the continent to come up with its line-up. Unlike most festivals that issue calls for artists to participate, Nyege Nyege identifies artists who are then invited to perform at the festival.

In addition to the explosion of many new genres, the last decade has seen the emergence of record labels digging up amazing music from across the whole continent, like Sahel Sounds, Akwaaba, Awesome Tapes from Africa, Sofrito and Analog Africa. Whilst these labels and there music are getting exposure in the West, there were few opportunities to showcase the great work of a small but highly dedicated group of music lovers within Africa. The organizers have therefore been inviting many of these people both to showcase the work of their labels as well as to help curate the line-up with their own expertise. While curating helps to get the underground musicians onto the global stage, Arlen notes that the festival may take a new direction about finding artists for their next edition.

Besides exposure of genres that are rarely heard, Nyege Nyege also seeks to increase the cross-fertilization of African music with European underground dance sensibilities; a development that the organizers feel is being neglected in the African festival circuit. For the 2016 edition, Nyege Nyege therefore aims to "scale up" from its first edition. Other than holding the festival at a time when the weather is good, the organizers are focused on staging a bigger and better festival, including providing better amenities.

This year the line-up has been divided regionally, with representatives from all corners of the continent. With many acts already confirmed, a strong North African contingency is expected, as well as top artists from West Africa, curated with the help of Benjamin LeBrave from Akwaaba in Accra. These include Mamman Sani, the legendary synth player from Niger as well as Les Filles de Illighadad, who are expected to give one of their first public performances at the festival.

Even with the goodwill from many people around the world to help make the festival a success, Derek and Arlen say that the main challenge they currently face is to engage with the local community so that they feel a sense of ownership and pride in the event in their town, particularly so that it makes economic sense to them. They also acknowledge that it's easier to host events outside of Kampala as there are fewer restrictions on large gatherings with "thunderous" sound systems. As a completely independent festival that for the time being does not rely on any corporate or donor funding, Nyege Nyege relies purely on ticket sales, although they expect that as audiences grow, so will the quality of the festival's line-up and the overall experience.

For more details visit the Nyege Nyege website or Facebook page. Watch highlights from last year's festival in the video below.

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