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

Popular music in Malawi

29 May 2015 - 13:08

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By Neil Nayar

The southern African country of Malawi is most famous for its beautiful lake, its cultural diversity and some slightly bizarre dealings with foreign celebrities. Due to the friendliness of its people, it has become known by many as 'The Warm Heart of Africa', but what is happening there musically? This text provides an overview of popular music in Malawi, both past and present, and attempts to shed some light on the key popular genres.

Piksy. Photo: Facebook

Banjo and Local Music

The biggest song of 2014 was undoubtedly ‘Amaona Kuchedwa’ by Lawi, a song about a man who sees everything taking too long, and gets into trouble because of it. It is a modern take on the classical Malawian style of playing mostly known as ‘Banjo Music’. It's said that banjo music started in Malawi’s tea plantations as a way to entertain the families of workers there. It was influenced by those returning from World War II, inspired by new jazz and blues sounds. It is also said that the famous South African style kwela (meaning 'rise' in Chichewa) was heavily influenced by Malawian 'Banjo' players who had gone south to work in the mines. Notable banjo bands include the late Alan Namoko and Daniel Kachamba, Edgar & Davis and the Kuwoza River Band.

There is still a live tradition of this style, especially performed by buskers and in villages. The recorded equivalent is simply known as ‘local music’, which typically sounds quite different, with a heavy emphasis on keyboards. This kind of music is almost always sung in Chichewa, deals with everyday topics and is very popular in Malawi’s villages. Top Local artists are Lucius Banda and Skeffa Chimoto.

Afro-Pop

Most music presently recorded in Malawi is done so in home studios with varying quality of equipment. With influences such as RnB, jazz, rumba (from DRC), house (from Zambia and South Africa) and local music, the biggest emerging genre is Afro-pop. Some of the most popular young artists in Malawi of this broad genre are Lulu, Piksy and Maskal, who play regular live shows in the season.

It's traditionally been very difficult for female performers to break into the music industry in Malawi due to a traditional patriarchal culture. Slowly this is changing, however, and today there are a number of emerging female artists, especially from Malawi’s middle class, such as Naomi Scoon, Hazel Mac, Elly K, Tigris and Lily Alex.

Gospel

One genre that female performers are definitely allowed to join is gospel. There are choirs and gospel groups all over Malawi. Many of the choirs perform hit songs with a modern backing band, and many of the most popular solo artists – such as Ethel Kamwendo, Favoured Martha and Lloyd Phiri - tour the country frequently.

Gospel has recently come to be incorporated into other popular genres. For example, artists such as Lawi and Faith Moussa have combined Afro-jazz instrumentation with gospel-inspired lyrics. The same is true in the Christian hip-hop scene, which enjoys a large following. Both of these new takes on the gospel genre are well produced and catchy, and can be appreciated by non-Christian listeners.

Reggae

Reggae is a hugely popular medium of expression in Malawi, with a standard sound (known as ‘Malawi Reggae’) and many variations on this theme. It is sung in both English and Chichewa, sometimes a mixture of the two. In Malawi, reggae is enjoyed by a wide demographic. There are bands to cater for the local Rasta community and others to entertain the regular folk. It’s not uncommon to see these bands on the same stage at all-day and all-night weekend shows during the season. Besides its characteristic groove, what typifies this music is the lyrics, which often deal with the everyday social issues that the people of Malawi face. Due to this reason, reggae in Malawi has become synonymous with the people's music and is thereby accessible to all.

As in the rest of the reggae-loving world, dancehall is also popular, especially in the cities. There are several artists and young bands who let out hard-hitting lyrical flows to get the crowd dancing, thinking and singing along.

In the 1980s local reggae pioneer Kalimba had some songs that were released internationally. More recently, dancehall artist Blasto (Otis Chilamba) has earned a following in Jamaica. Other notable Malawian reggae artists are The Black Missionaries, Anthony Makondetsa, Sally Nyundo, Apatsa Kwilimbe and Soul Raiders.

Afro-Jazz

There is a name that everyone in Malawi above the age of 20 knows - although very few of the actually know his music. His name is Wambali Mkandawire. He's music is extremely Malawian and draws heavily from traditional rhythms, subtly fused with jazz. He's certainly inspired a new generation of artists and is the only Malawian to have been nominated for a prestigious MOBO award in the UK, which happened in 2007.

With the establishment of various music schools in recent years and a renewed dedication to find a unique Malawian sound, Afro-jazz is very popular among young musicians, especially those connected to music schools such as Music Crossroads[i]. Notable Afro-jazz artists include Eric Paliani, Mafalika, Peter Mwanaga, Konkalazi, Bernard Kwilimbe, Agorosso and Chris Kele.

Hip-Hop

Hip-hop has become very popular in Malawi in recent years, with artists like Tay Grin, Gwamba and Third Eye paving the way. Tay Grin has managed to fuse the traditional rhythms of the Ngoni (a southern African ethnic group) with modern hip-hop. Gwamba, who sings almost entirely in Chichewa, is famed for clever lyrics that make people in the audience really sit and listen. Third Eye sings mostly in English with a slightly American style and a flawless flow.

The first rap outfit in Malawi was Real Elements. The group’s founder, Q Malwezi, now runs a popular poetry event in the capital of Lilongwe. They once supported Blak Twang on a UK tour but have since disbanded.

Future trends

During the one-party system that spanned from Malawi’s independence in 1964 until the early 1990s, there was only one TV and radio station – the Malawi Broadcasting Corporation (MBC)[ii]. The first-ever band in Malawi to play with electric instruments was MBC Band. This was because they were the first musicians in the country to gain access to newly imported instruments and band was formed from auditions. Things have come a long way since then, but there is still a strong identity with traditional Malawian song and dance, and much remains unexplored in terms of fusing this with modern instrumentation.

Some Malawian artists are forging new sounds that are more obviously influenced by international pop artists. Malawi has an equivalent to Pop Idol, the Sunbird Search for a Star competition. The winner of the 2013 edition was Adrian Kwelepeta, whose music draws heavily from European and American influences. He could be from anywhere in the world but in fact has never left the country. Among his peers are a host of talented musicians such as singer-songwriters George Kalukusha and Sirius, hard rock band Motobuu and the only all-girl instrument-playing band in Malawi, The Daughters Band. Inspired by the likes of legends Michael Jackson and Marvin Gaye, current superstars like John Legend and Ed Sheeran, rock icons like Nirvana and many others, this new generation of artists is finding an audience and steadily edging its way into the mainstream.

All in all, popular music in Malawi is growing in popularity and evolving at its own pace - the future certainly looks promising and diverse.

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