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

Live music in Chad

17 Feb 2017 - 13:09

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Live music is a performance given in the presence of all involved in the process of musical creation.

Célestin Mawndoé Photo: africavivre.com

This form of music distribution and consumption has been successful and continues to be the pride of musicians in Africa and other parts of the world even as the diversification of music consumption and access to music via the Internet have impacted on it.

Context

Live music is linked to the continent’s history. In Chad, traditional music from the region of Sarh, in the southern part of the country was first recorded during the colonial period. Orchestras and bands emerged in the major cities of Chad during the colonial era with the use of so-called ‘modern’ or ‘western’ instruments. Traditional and popular music are the preferred genres of the predominantly rural Chadian population, and are the core of live performances.

Bands

The modern music scene developed with the National Orchestra, National Ballet and National Theatre, following the period of independence of African countries. In Chad, the bands and orchestras that marked the history of live music are Chari Jazz, Africa Mélodie, Abakar Chikito, Moussa Chauffeur and Mama Eldjima, among others. The tradition of performing live was adopted by most of the post-independence bands and musicians like Challal International, Clément Masdongar and Tibesti. Despite the popularity of instrumental music and beats on CDs for playback and semi-live purposes in the 1990s, live performances still retained its place in this new era.

Live music became popular in Chad from the early 2000s with the emergence of Tibesti, the band Inch'Allah, the rap bands Komplyss, Banlyeuzars, Otentik, H’sao, as well as musicians of the diaspora such as Célestin Mawndoé, Franck Degospa from Rapaces, Doro Minanta, Clément Masdongar, and the group Yalade. One band that set itself apart is H'Sao, which has been able to strengthen its presence on the local and world stage through their style and live performances.

Some Chadian artists went solo after their bands broke up and are still performing live. For example, Abdoulaye Ndergue and Aimé Palio from the band Tibesti, Célestin Mawndoé from Yeleen, Franck Degospa from the band Rapaces and Djim Radé Kamndoh (Tôh-nal). Today, live music continues to attract the populace.

Festivals

Festivals such as N'DJamvi, N'djam s’enflamme en Slam, N'djam Hip-Hop and Neige au Sahel are platforms promoting live music in Chad. With the recent comeback of the band Tibesti, it is worth saying that live music is still alive.


Reference
  • Laltchad Press
  • Journal du Tchad
  • Afrik.com
  • Africultures.com

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