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

How Wikiendi Live is promoting live music in Tanzania

23 Nov 2016 - 10:19

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South Africa’s live music development project, Concert SA recently released a report that showed live music had overtaken recorded music as a source of revenue, opening up multiple opportunities for local venues and music organizers. While there are indications that the South African live music scene is set to grow, in Tanzania, live music, once a vibrant segment of the industry, has taken a downward spiral over the years.

Leo Mkanyia during a performance. Photo by Quaint Photography

Few initiatives such as Wikiendi Live, a monthly live music showcase, are striving to change the fortunes of the Tanzanian live music segment.

“In the 1980s, the recording industry barely existed in Tanzania, and for those old enough to remember, the live music scene was electrifying,” says Aziza Ongala, the coordinator of Wikiendi Live.

Challenges such as lack of venues and other key elements necessary for production of live music events have, however, held back this segment which is regarded as the highest earning activity in the music sector value chain.

Rebecca Correy, the Managing Director at Nafasi Art Space, says, "There are definitely not enough venues to cater for such events. Bands are still very much limited to playing in local bars, where there is unusually no cover charge, this in turn limits their earning capacity. Consequently, there hasn’t been an upsurge of young talent to replace the large dinosaur band of the 1980s.”.

Wikiendi Live was established in May 2016 to boost the visibility of Tanzanian and East African artists who play traditional or African fusion music. Nafasi Art Space has always played home to this monthly event.

Besides offering a platform for artists, Wikiendi Live hopes to contribute to the establishment of an East African tour circuit that links venues in order to reduce or share costs and increase opportunities for artists to play multiple shows in the region. Additionally, the platform hopes to create professional and artistic development opportunities for Tanzanian artists while building the technical capacity for those who operate in the Tanzanian music industry.

“We target artists who are not mainstream acts and so the platform allows them to define themselves and their art outside of commercial expectations. Local Tanzanian acts gain an opportunity to play alongside visiting artists from the region,” Ongala remarks.

She says this will in turn encourage collaboration and contribute to the professionalization of local Tanzanian artists. On 26 November, Wikiendi Live will host the last edition for this year. In concert will be Tanzanian Swahili Blues artist Leo Mkanyia and the Wahapahapa band.

Mkanyia emerged on the Tanzanian music scene more than 20 years ago. Mkanyia comes from a family of musicians and has created his own modern style which he calls Swahili Blues, a sound that has roots in traditional Bantu dances. He released his first full length album, Jasho Langu, in 2010. He has staged various shows across the world. One of the few bands on the Tanzanian music scene Wahapahapa Band uniquely blends home-grown music inspired by diverse Swahili traditions and other world influences.

Impact of media on live music

Correy notes that media embraced the new genres of music such as Bongo Flava as opposed to the traditional sounds of Tanzania. “The kind of music that is being endorsed on the Radio, TV and Social Media is rarely live. Genres like Bongo Flava do not require large size bands of the 1970s and 80s. Often, all one needs is a DJ who performs on playback, hence few opportunities for bands.”

She further notes that changing preferences among the audiences has also played a role in the decline of the live music scene.

She explains that “as the older generation becomes less active, the younger generation aspire to tap into the modern American-style pop culture, choosing clubbing rather than outdoor live music events."

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