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 Namibia

01 Jul 2015 - 08:58

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By Rinelda Mouton

The music industry in Namibia has a number of popular music genres. This text provides an oveview of the most popular ones: Political Music; Kwaito; Reggae and Dancehall; Shambo; Gospel; Afrikaans; Damara Punch; R&B, Pop and Afro-popHouse and Hip-Hop.

Namibian star Gazza. Photo: Facebook

Political Music

This music genre was popular from the early 1960s to 1990, before Namibia gained its independence. It was mainly music done by artists from oppressed black communities, who sang about the difficulties they faced with during apartheid. Their songs would often also contain messages of peace, love, war, family and friendship. Much of this music was recorded on vinyl or cassettes. These songs are of great importance to Namibia as it tells the history of the country through music. A few of these artists were Jackson Kaujeua, Ras Sheehama and Willie Mbuende.

Kwaito

Kwaito music is the most popular genre in Namibia, with the most artists and fans. It expanded into Namibia from neighbouring South Africa. The genre was first started in Namibia by Matongo Family, a trio considered the pioneers of the Namibian Kwaito, who first brought kwaito to the Namibian stage in 1998. Other early Kwaito performers were Guti Fruit and the late Pablo. The Dogg and Gazza then followed. The genre has since grown big with the introduction of other artists such as Legg-Ghetto, Ees, Sunny Boy, Qonja, Exit, Tre Van Die Kasie, OmPuff, Chipolopolo, OmZoo, and PDK.

Most artists sing in their native languages, such as Oshiwambo, Nama/Damara, Kavango and Otjiherero, as they believe the listener can easily understand and relate to the message of the song. One song can typically contain up to three different languages and slang. This music genre has earned Namibia the most awards from music competitions outside the country, with artists such as The Dogg, Gazza and Ees scooping awards. Some of the best albums that industry has seen thus far are Zula II Survive by Gazza (2004), ‘Take Out Yo Gun’ by The Dogg (2004), ‘Koek n Jam’ by Qonja (2006), ‘Y. B. G.’ by Sunny Boy (2005) and more recently 'Go Hard or Go Home' by Exit (2013) and 'Exodus' by Blacksheep (2014).

Reggae and Dancehall

This music genre emerged in the 1970s with Ras Sheehama, who followed the footsteps of the legends Bob Marley and Lucky Dube. In the early 1980s a band called We Culture was formed in the informal settlement of Katutura in Windhoek, the capital city of Namibia. Other artists such as Petu, Ngatu, the Mighty Dreeds, Los Amadeus, Omidi d Afrique, Shem Yetu and Organised later also joined the genre.

Today, Namibian reggae is characterised by a faster beat, inspired by international Dancehall trends that are especially popular with the younger crowd. Artists such as Mr. Simple, Ees, PDK, Fishman, Gazza, Killa-B, Boet, Faizel MC as well as StarDust are associated with this genre.

Shambo

Shambo music is very popular with Namibian people, especially those from the rural areas. The genre derives its name from "Shambo Shakambode", from the Oshiwambo-speaking people. Artists normally sing about peace, war, unity, love, respect and history. The Shambo genre was made popular in Namibia by Tate Buti, his sister Janice and Faizel MC with their song entitled ‘Kwiku’ in 2007. The song did not only got the attention of people from Namibia’s rural areas but also other communities in Namibia such as the Basters, Coloureds and whites.

In 2005 Shambo was recognized by the Namibia Society of Composers and Authors of Music (NASCAM) as one of Namibia's folk music genres. That same year the Annual Sanlam-NBC Music Awards included Shambo music as one of their award categories, where it remains in the current industry awards, the Namibia Annual Music Awards (NAMA).

Other well-known names in the Shambo music genre includes trio PDK, Olavi, Killa B, Castro, Faizel MC, Tunakie, Tate Kwela, D-Naff, Castro, ‎Lonette Uupindi, Jackson Wahengo, Neslow, Nono and Om’Nenenhu Dazzle.

Gospel

Gospel music is also popular in Namibia. It was started in Namibian churches, where people would sing songs by American gospel artists. Award-winning Namibian artist D-Naff is currently the most recognized voice in the local gospel scene in Namibia. Other Namibian gospel solo artists are Mzedek, Edcens Ndjavera, Moritz Haraseb, Nashy Makoma, Dylan, Blessed Son, Ponti Dikuua, Sanet Lambrecht and Phillip.

Over the past few years, Namibia has seen an increase in church choirs. The most well-known ones are Clive & The NOW Generation and The Koi International Worship Choir. To help strengthen the genre, a trust known as the Namibia Gospel Music Trust (NGMT) was formed last year with the promise to take the genre to new heights.

Afrikaans

Afrikaans pop music in Namibia is originally influenced by European folk music. In Namibia it is more popular among the white communities. The most successful Namibian artists in the Afrikaans music genre are Namibian-born sisters Nianell and Riana Nel, who are now residing in South Africa and a part of South Africa’s Afrikaans pop scene, as well as Namibian’s first Big Brother Africa representative, Stefan Ludik and his brother Hugo Ludik. Newer names to get involved in the Afrikaans music genre are Araffath, MC-Ray, Michael, Phillip and Tabakanz.

Afrikaans music has also enjoyed the attention of a few black communities, particularly when Tate Buti released his award winning song ‘Ek wari 4kol’ in 2012. Other black Afrikaans rappers who are constantly trying to attract more black fans to this genre include S-Man and Wambüseun.

Damara Punch

Damara Punch was introduced by Namibian artists such as Stanley, Phura, Michael !Owos-oab, Raphel and Pele. It is also known as Ma /Gaisa. The genre was derived from traditional Damara music and is mainly sung in Khoekhoegowab. Ma /Gaisa artists will always find a way to surprise music lovers with their remarkable ability to write lyrics that are out of this world. These artists often sing about people who want to break up their marriages, people gossiping about them, backstabbers or people who want to take away their blessings. Other big Namibian artists in the genre are Dixon, Tate Buti, Female Donkey, Brumelda and Damara DikDing.

R&B, Pop & Afro-pop

R&B has been popular in Namibia since the 1990s. Shortly after the birth of the R&B genre in Namibia, more artists began to get involve in the Pop or Afro-Pop genres, which sound similar to R&B. The Namibian industry has seen pop artists such as the award-winning former duo Gal Level, TeQuila, African Boy, Christi Nomath Warner, Lady May, Big Ben, Jewelz, Lil D, Rodger, Jossy Joss, Floritha and Chikune.

House

House music is the new kid on the block in the Namibian music scene. The industry gained fame in Namibia in nightclubs when DJs started to mix international house music, including from South Africa. This later led to the outbreak of the music genre in Namibia. DJ Kboz was one of Namibia’s first successful house DJs. He released an album entitled Strictly Street House, Volume 1 in 2007. The industry has since grown, seeing artists such Gazza, Mr Makoya, Sally, Lady May, Leggetho, Mushe, Exit, Mr Simple, 4×4, Linda and Omsaane Niihana releasing house tracks. The genre is particularly popular with young fans.

Hip-hop

Hip-hop is another genre that is particularly popular amongst youngsters in Namibia. Namibian hip-hop is inspired by popular American rappers such Tupac Shakur, Nas, Jay-Z, Snoop Dogg and Eminem. Unlike Americans who rap or sing in English, some Namibian artists prefer to rap in their indigenous languages, including Oshiwambo and Damara-Nama. Popular names in Namibian hip-hop are Jericho, Kanibal, Dice #1 Stunner, Snazzy, Shikololo, Fidel O'del, Pablo, Dore, Kanibal, Catty Catt, S-Man, OmPuff, D-Jay, KK, Laukey, Krespo, Lil' D, Black Vulcanite and the Naughty Crew.

Despite the diversity of popular music genres in Namibia, the Namibian music industry still has no major record labels or distribution infrastructure. As a result, Namibian artists often have to sign contracts with South African or other foreign companies to have their music distributed outside the country.

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