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

Haacaaluu Hundeesaa: Sublime Ethiopian singer who inspired Oromo struggle protesters

31 Aug 2022 - 07:51

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 By Alison Phipps

I speak to myself whispering
Our situation has defied resolution, our misery isn’t improving
We are in despair and idling, that is why I am whispering

Haacaaluu Hundeessaa.

So sings Haacaaluu Hundeessaa to his people, the Oromo, in the song ‘Waa’ee Keenya’ (Our struggle), calling on them to take action against centuries of oppression in Ethiopia.

The Oromo are the largest ethnic group in Ethiopia, and represent well over a third of Ethiopia’s estimated 120 million people, mostly residing in the federal state of Oromia. Historically, Oromos have been subject to persecution and marginalisation, which has led to them living on the periphery of Ethiopia’s political and social life.

The decades-old struggle of the Oromo people for political and cultural independence came to a head in 2014 when the government proposed a development plan to expand the limits of the country’s capital, Addis Ababa, into neighbouring Oromo villages and towns. It was feared that this move would accelerate the evictions of ethnic Oromos from their ancestral land.

The new documentary Spear Through The Heart tells the tragic story of Hundeessa and how he inspired a revolution. A sublime singer-songwriter, Hundeessaa was a fervent activist in the Oromo Struggle and his songs became the anthems of the revolution. It is believed that for this he was assassinated in 2020.

Inspired to action

At the age of 17, Hundeessaa was imprisoned for five years for his political activities. It was in this period that he learned about the history of Ethiopia and the Oromo, as well as how to make music. In the film we are told, “he came out of prison a storyteller able to awaken a pride in all of us”.

In 2009, a year after leaving prison, he released his first album Sanyii Mootii (Race of the King). His songs about the rights of the Oromo quickly made him a star and a political symbol of the Oromo struggle.

Hundeessa’s songs do not shy away from documenting the brutal history of the Oromo people. In perhaps his most famous song ‘Maalan Jira’ (What existence is mine?), he sings about the beautiful Oromo lands that have been taken. It is a song of exile, sadness and defiance.

My beloved Galoo Gullaallee was Tufaa’s
The mountains were Abbichuu’s
The Galaan surrounded Finfinnee
If it were for love
We wouldn’t be apart
They tore us apart
They exiled us, we got separated

(Translated by Bonnie Holcomb)

For decades the Oromo language and culture have been marginalised in much the same way as many indigenous

languages worldwide. Hundeessaa’s songs, sung in Oromo, gave a voice and a sense of pride to a people and language that many were trying to silence. “Something about Haacaaluu spoke to the youth here, he was the cornerstone of being proud, of being Oromo,” stresses one activist interviewed in the documentary.

A unifier

Hundeessaa’s songs are defiant and questioning and feature memorable lines that created both a language of protest and hope, which had been absent before. In this, people spoke of him as a great unifier. His songs made people aware of how history repeated – how the same tactics used in the past were being used again to divide and conquer people in Ethiopia. For instance, in the song ‘Waa’ee Keenya’ (Our struggle) he sings:

Who should we blame, intellectuals or the ignoramus?
We are still oblivious to what causes us deep sadness
Though we have become adept at sabotaging and waylaying each other
Our misery remained with us even though we have worn out one another

(Translated by Ezekiel Gebissa)

Unsurprisingly, criticism of the powerful and his ability to unite people made him unpopular with the government. But he was never afraid to make his voice heard, which is documented in the film through footage of him performing before an audience including top-ranking government officials.

His songs were directly critical of their actions and the officials are shown stony-faced as the crowd celebrate and sing along. Giving an interview later, Hundeessaa says: “It’s not some functionary or government official who chooses what I sing.”

As a result of the struggle, a new leader was elected in 2018 – Abiy Ahmed who is of Oromo and Amhara (another of the dominant ethnic groups in Ethiopia) origin. There was hope for Ahmed’s initial programme of liberalising and unifying action among different ethnic groups in Ethiopia. However, his tenure has since resulted in a brutal civil war in Oromia and has been roundly condemned by international human rights organisations.

In 2020, Hundeessaa was shot and killed in Addis Ababa. It’s widely held that he was killed for his politics and in interviews prior to his death he said he had received death threats.

Hundeessaa’s death sparked weeks of violence and unrest in Oromia. The struggle goes on and people continue to protest for the rights of the Oromo. There are also 4.5 million Ethiopians who are internally displaced, primarily from Tigray and Oromia.

Spear Through The Heart is an important cultural artefact, documenting the Oromo struggle past and present, while celebrating the generosity of spirit of a man who embodied the movement and gave it a powerful voice. His wife said at his funeral, “Haacaaluu is not dead. He will remain in my heart and the hearts of millions of Oromo people forever.”

Alison holds the UNESCO Chair in Refugee Integration through Languages and the Arts at the University of Glasgow where she is also Professor of Languages. The article first appeared on The Conversation.

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