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

Kamau Karongo: Self-taught gospel star

21 Nov 2014 - 15:16

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By Stanley Gazemba

He learnt to play the drum-set by banging on his mother’s cooking pans, plastic water barrels and kitchen table. When he later graduated to the live stage and discovered he was shy in front of a live audience he quickly hid his shortcoming behind his guitar. Meet Kamau Karongo, the man who rose from a cheeky village boy full of curiosity in Gachie to become an award-winning gospel musician.

Kamau_Karongo_performing_at_Gift_Restaurant

The people of Gachie on the outskirts of Nairobi may remember a village lad who once got on stage at a crusade at Kinoo Shopping Centre and thrilled everyone with a stellar performance at the drum-set for one hour nonstop. This boy, who has since gone on to conquer the world beyond his village, was reluctantly drawn into music. After the day’s labour in the village coffee plantations his mother would come home and practice music after the household chores were done. She was learning to play the guitar, tutored by a Congolese musician called Emmanuel Chachuna who attended their village church. As they played the popular gospel songs at the time like Cha Kutumaini Sina, Karongo would be encouraged to join in. But he was very reluctant, opting to go out and play with his friends.

Gradually the curiosity got to him, and he started accompanying them by knocking on the table. It is the death of his mother in 1999, during Karongo’s final year in High School, that proved the turning point. All this while he had had his sights set on becoming a tour guide after school, but he now realized he had to complete his mother’s mission. Karongo clearly recalls that day when he sat at a drum-set for the first time at Kinoo Shopping centre. He was in Class Eight. Chachuna, who had sensed the young man’s talent, had dragged him along. The village church had just acquired new instruments and there was no one who knew how to play the drums. Karongo took his seat at the drums and played for an hour. The bishop and all who had turned up for the crusade were very impressed. Slowly it stopped being a fun activity and Karongo started taking the drums seriously. He also started trying his hand at the keyboard. After his mother’s death he graduated to the guitar, which he says is his most favourite instrument.

Slowly people started taking note of his music, and he started getting gigs. He was invited to perform at Egerton University, Medical Training College, Nairobi, and in various high schools around Nairobi. “I have found that people yearn for live music,” he said in an interview at the Christian God Gift Restaurant on Tom Mboya Street. “We do not have bands which can perform for two hours straight.” During his weekly live performances at the restaurant The Waiters Band backs him. The band is made up of Joseph Wahome, the drummer, Mark Ngige on keyboard, David Mwangi on the bass guitar, Fred Mudasia on guitar, and David Kibera, David Kasika Munga and Shiro Karanja on vocals. Karongo’s big break came at the 2004 Kipawa Talent Search held at the Nairobi Pentecostal Church, Valley Road. As a village boy coming to perform at a major concert in the city Karongo admits he was intimidated. Big names in gospel music at the time were lined up to perform, and he honestly didn’t see a chance for himself.

Nonetheless he gathered courage and stepped on stage with his guitar. And to his big surprise a rapturous roar greeted him from the audience. Apparently word had gone round in the village that he was performing at Kipawa, and unknown to him his Gachie village-mates had mobilized and turned up to give him moral support. And that is just what he needed at the time. Some other thing happened that evening. He discovered he was terribly shy in front of the large city audience. With all eyes on him he had to think first. “I decided to hide the shyness behind my guitar.” He did just that and played his best, to the delight of the audience. When time came to declare the winner his home-fans were certain that he had taken it, going by the response of the audience. However he had to settle for second place, which wasn’t bad either.

Finally his star was shining. He was quickly booked to appear on Hope FM, KBC and other FM stations for interviews. By this time he had a number of his own compositions, and got a chance in 2005 to record with Steve Ominde at Soul Child Records. Sponsors came aboard, and he was able to record his first ten-track album, ‘Ngoro Yakwa’. His first big paying gig was organized by Citizen TV’s Kubamba Krew at Nairobi Baptist Church. Thereafter they started rolling in, with him curtain-raising for gospel Star Kirk Franklin at Nyayo Stadium during his 2008 tour. Although the response to his first album was encouraging he took a long hiatus, causing some of his fans to think he had abandoned music. In 2009 he was nominated for the Atlanta-based Talanta Award. He competed in the Non-US-based category. He was voted the non-US-based male musician of the year. The video for Mungu u Mwema off his Ngoro Yakwa album also won the Short Film award in Joplin, Missouri.

The victories saw him perform in seven states, mostly in churches and private functions. The shows were arranged by Talanta’s Maggie Waruri and Fred Obare. He had worked with Obare on some of his songs while he was still based in Kenya, and now that they had linked up again in the States they decided to get to work in Obare’s well-equipped home studio. It is most of these recordings that formed his second album Umetenda. The response to his second album was encouraging. Karongo says he has his eyes set next on a wedding album, which is still in the works. If the crisp acoustic quality of Umetenda is anything to gauge him by, he certainly has a bright future ahead. His is a refreshing sound in a market flooded with hastily-cobbled electronic music.

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