NEFCISA
NEFCISA

The Music In Africa Foundation (MIAF) is proud to announce 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 launching a new national programme designed to create jobs, address skills gaps, and strengthen 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 will recruit and train participants, match them with host organisations, and place a minimum of 1 000 workers across the country. 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 has stamped its authority as Africa’s leading music trade event. At the 2019 edition in Accra, the conference brought together more than 1 200 delegates from about 50 countries on the continent and beyond. The conference also hosted 76 showcasing artists from Africa and the diaspora, who got to perform for an influential audience at two top live venues in the Ghanaian capital. Apart from live showcases, the event features panel discussions, presentations, exhibitions, pitch sessions, Q&A sessions with prominent musicians and visits to key music industry hubs in the host city. Many of these activities will be planned for ACCES 2021, with the ACCES team already exploring a tailor-made programme that will cater for the specific needs of the local music industry amid the pandemic. ACCES is organised by the Music In Africa Foundation, a non-profit and pan-African organisation, in partnership with Siemens Stiftung and Goethe-Institut.

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 claire@musicinafrica.net. 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

News

Over 55 artists killed in Sudan conflict – ACJPS report

28 Nov 2024 - 13:58

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More than 55 artists have been killed in Sudan since the outbreak of conflict on 15 April 2023, according to a report by the African Center for Justice and Peace Studies (ACJPS) and the Sudanese Music Research Center. This toll includes artists who died due to extrajudicial killings, denial of healthcare, and torture while in detention.

Shaden Gardood was killed on 13 May 2023 after posting messages the day before her death calling for peace and documenting war atrocities.

The ACJPS report, Tears of Guitars and Screams of Museums, highlights the violations inflicted upon artists since the war began, using field testimonies, interviews with victims’ families, open-source analysis, and satellite imagery.

One victim is poet, singer, and activist Shaden Hussein, better known as Shaden Gardood. Renowned for her social media advocacy and outspoken criticism of Islamist interference in humanitarian aid, Gardood was killed on 13 May 2023, after posting messages the day before her death calling for peace and documenting war atrocities.

Initially thought to have died in a shelling incident, the report reveals that Gardood was actually targeted by a sniper while sitting on the roof of her home in El Obeid, the capital of North Kordofan, with her son and other family members.

“As her companions sought to procure a neighbour’s vehicle to transport her to the hospital, three additional bullets were discharged nearby. Their efforts were further delayed at a Sudanese Armed Forces (SAF) checkpoint,” the report states.

The BBC reported then that Gardood lived in the El-Hashmab neighbourhood, where the national TV and radio building is located and which has become the epicentre of the fighting.

The late singer regularly took to Facebook to call out the perpetrators of the war, describing the clashes and shelling in her neighbourhood.

Originally from South Kordofan state, Gardood used music to promote peace in the region. She was also a researcher who documented the culture of her marginalised Al-Bagara community, especially the legacy of the traditional poets known as Hakamas.

Other artists mentioned in the report include singer and composer Hamdan Azrag, who was killed in a bombing in Omdurman, and Asia Abdelmajid, Sudan’s first theatre actress, who died from random gunfire in Khartoum North (Bahri).

While some artists were directly killed by gunfire and shelling, others faced untimely deaths due to the denial of healthcare. Keyboardist Ibrahim Miko and composer Bashir Abdelmajid both died from treatable injuries after medical services collapsed.

Others succumbed to torture and arbitrary detention, such as percussionist Kamel Hasan, who “succumbed to torture injuries” in Soba prison in Khartoum on August 30 of this year after being detained by the Rapid Support Forces (RSF) in May 2023.

The conflict's impact extends beyond human lives to Sudan's cultural legacy. The report condemns attacks on cultural and historical sites as deliberate efforts to erase Sudan's heritage.

According to the ACJPS report, the Sudanese National Museum was looted, with videos circulating of RSF forces inside the premises. The Natural History Museum in Khartoum was reportedly destroyed by bombing, resulting in the loss of irreplaceable specimens. The Beit El Khalifa Museum in Omdurman suffered damage, and national theatres have either been bombed or repurposed as military bases.

Radio Dabanga reported in May that the old Republican Palace in Khartoum was struck by a Sudanese army airstrike, igniting parts of the building. The palace had already suffered damage from airstrikes in May 2023 and again in August 2023. It came under the control of the RSF at the start of the war in April 2023.

In River Nile state, fighting near the archaeological sites of Nagaa and El Musawwarat in Merowe, along with footage of RSF soldiers in the area, has raised concerns for this UNESCO World Heritage site. ACJPS states, “Due to the subsequent arrival of a military force and the presence of landmines in the area, the current status of these antiquities and any potential damage they may have suffered remains uncertain.”

The report praises artists who have taken a strong stance against the war. Artists such as Abu Aragi El Bakheet, Nancy Ajaj, and Yousef El Mawsili are highlighted for using their art to condemn violence and promote messages of unity.

In contrast, it expresses regret that some artists have “fallen into the trap of polarisation,” using their art to support the warring factions. Nada El Galaa and Kamel Suleiman are cited as examples of artists whose works advocate for the SAF, while artists like Ibrahim Idris have released songs endorsing the RSF.

ACJPS concludes by urging the international community to prioritise the protection of artists and cultural heritage. It calls for stronger measures to safeguard freedom of expression, support peace-focused initiatives, and preserve the country’s historical identity.

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