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

Overviews

Gospel music in Uganda

22 Sep 2015 - 14:41

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By Achiro P Olwoch

This text provides an overview of gospel music in Uganda. 

Ugandan gospel artist Judith Babirye. Photo: www.observer.ug

Like every other country in the world, gospel music in Uganda has long given a voice to people living in troubled times. During the civil wars that plagued Uganda since the 1980s, there was a rise in people flocking to church and gospel music started being the music that was being played to calm people down. For a time, gospel music remained confined to churches on Sundays.

Rise to the mainstream

Over time, gospel music has evolved. After US gospel star Kirk Franklin’s 1997 song ‘Stomp’ was a hit in the streets and discos of the secular world, gospel artists have not been afraid to keep their music within the confines of a church. They also took a step and explored having their music out there. Today it is not unfamiliar to see people dance to a gospel song in a club.

In the past, it was very uncommon to hear gospel music played inside a ‘kamunye’(passenger taxi vans), except on Sunday when it was deemed acceptable. Now, drivers are not embarrassed to play their favourite gospel artists in their kamunyes, no matter the load of passengers or the day of the week. This is proof that gospel music in Uganda has grown in leaps and bounds. And it is not the typical kadongo kamu music long associated with Ugandan pop.

Ugandan gospel songs range from African rhythms, choirs and classical. It has over the years been modified as a result of the latest instruments. Now even a church choir will sing a song in the local language accompanied with modern instruments, as compared to the past when they would sing an acapela or to the beat of traditional instruments especially a drum. Even the tone was being done with the touch of a keyboard, as compared to a leader with the tune starting at the beginning to get her whole choir in check. One will always find themselves bobbing to a tune without even realizing that it is a gospel song because of the beats. Even non-Christians will listen in to a gospel song and sing along because it has a catchy tune, not necessarily because they agree with the message.

Key artists

Gospel music first started making headlines with the likes of Fiona Wamala Mukasa, who used to be a church choir leader and wrote and performed her own songs. Songs like ‘Aleluya’ (2011) from the album Saba ne Fiona (meaning pray and worship with Fiona) was a comeback for the musician who had been out of action for many years. Other popular songs by Fiona Mukasa include ‘Busule’ (2012) and ‘Tabongola’ (2011).

Secular musicians who started off young like Fiona often find it hard to come back and be a hit with the new generation. But with her gospel music, Fiona stuck to her original style and managed to win the hearts of the listening audience regardless the age. Being a daughter of legend musician Elly Wamala may have played a part, seeing as music is in her blood.

Other popular gospel artists include Wilson Bugembe, who also doubles up as a pastor at Light the World Ministries in Kampala. He is referred to as Pastor Wilson by many of his fans. Most of his songs are actually telling a story and giving a message. His videos are even more dramatic than the songs that he sings. He started singing professionally when he was just 19 years old. His breakthrough song was ‘Njagala Kumanya’, which received airplay on the top TV and radio stations in Uganda. This was what propelled him to stardom. Otherpopular songs by Pastor Wilson include ‘Sibiwulira’ (2014), ‘Mukamangamulungi’ (2013),‘KomawoEka’ (2012), ‘Kani’ (2013) and ‘BamuyitaYesu’ (2012). He has worked with popular musicians in Uganda like Silver Kyagulanyi and Isaiah Katumwa and released albums like Kani (2010) and Ani (2010). He won the Best Gospel Artist award at the Pearl of Africa music awards three years in a row in 2007, 2008 and 2009.

Judith Babirye is another popular gospel musician in Uganda, who also happens to be a senior pastor at New Life Deliverance church in Kampala. While in high school, she composed the school national anthem. This started off her music career. Her debut song ‘Yesu Beeranange’ (2006) won Best Gospel at the 2006 Pearl of Africa Music Awards. Other popular songs by Judith Babirye include‘Yesu Asobola’ (2007), ‘Nzijukira’ (2008) and ‘Wanjagala’ (2011).

The younger generation gravitates towards Exodus. He was born George Timothy Lubega and his stage name ‘Exodus’ is derived from his life story. He used to sell ganja on the street till he got born again and started a new life. His first hit song ‘Ganja Man’ (2004) was in tribute to his story. His genre of music includes Afro-beat, hip-hop and RnB. ‘Igwe’ (2013) is another hit song that saw him top the radio and TV charts for months on end in Uganda. In 2009 he was nominated for the MTV Africa Gospel Awards and he has won four Buzz Teen awards in Uganda. He has also won a Grove Award in 2008 and numerous others.

Ugandan Omega Bugembe Okello is based in the US but makes regular trips down to Uganda, often with a new hit album to share with her compatriots. She started young as an orphan singing in the renowned African Children’s choir and has never lost her singing voice since then. Her influences range from classical Afro-beats to RnB and she has managed to make quite a name for herself both in the US as well as back home in Uganda. Some of Omega’s songs include ‘Kiwomeeraememe’ (2008),‘Lord I worship you’ (2011) and ‘Tugilabilile’ (2008).[i]

Commercial success

Gospel musicians have been scrutinized by secular artists and are sometimes accused of chasing after the money, instead of really preaching through their music. This criticism is a result of the huge sales in the Ugandan gospel music scene. They have a huge audience and their concerts are sold out most of the time.

Gospel music does not stop at inspirational lyrics; it also extends to instruments. Isaiah Katumwa is one gospel musician who has led with his saxophone. His concerts are always packed, with tickets often sold out months in advance. The same is true about all the other gospel musicians in the country. This may be what fuels the talk about the wealth that they are getting out of their music. Still, just like any other musician, they work hard to stay at the top and to make their music relevant, as Judith Babirye proved with her latest album in 2015.

As a result of the growing success of gospel music in Uganda, even secular musicians are dipping their fingers into the gospel world, releasing gospel songs that occasionally even end up trouncing the gospel musicians in popularity. There has been a debate in some of the Pentecostal churches whether it is right to play and dance to music that may be gospel but is actually the work of a secular musician.

Whether or not they are taken seriously, gospel music continues to make a rise on the music charts in Uganda, both on the secular and Christian radio and TV channels, which trumps their secular counterparts who can only score hits on secular channels. Can it therefore be said then that gospel music is more popular? Maybe!

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