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

#MusicInAfricaConnects

Preservation of music heritage in South Sudan

28 Aug 2017 - 13:32

cc-img flag-img

South Sudan is one of the most culturally rich countries in the world, but this is not widely known. It has culturally diverse traditions, with various cultural practices of ceremonies, poetry, drama, music, dance and art, all due to over 64 indigenous languages spoken in the country. Before South Sudan declared independence from Sudan in 2011, the Southerners who were treated as minority group along ethnic and religious lines, accused the then Sudanese government of denying them the political power and economic support.

University of Khartoum

Preservation of culture after independence

Over a year after independence, the then undersecretary of culture Jok Madut Jok was tasked with uniting one of the world’s most diverse populations, then estimated at 10.5m people living in one of the world’s least developed countries after decades of war.

In September, 2012, a three day workshop was held in Juba led by Ministry of Culture – in partnership with The United Nations Educational, Scientific, and Cultural Organisation (UNESCO) and the African World Heritage Fund – aimed at building their capacity to preserve the rich cultural heritage and also historic and natural sites.

The Institute of African and Asian Studies (IAAS) of the University of Khartoum then finalized a project aimed at assessing the need to safeguard the important collection of audio visual materials of traditional Sudanese Music housed in the Folklore and Traditional Music Archives of the University of Khartoum. Through a financial assistance of US$12,167 by the Intangible Cultural Heritage Fund, an action plan for the management and preservation of the Archives was set up.

In South Sudan, a museum and theater were also proposed, and the Ministry of Culture set aside a plot of land for the complex in Juba. Thousands of historic documents that had been rotting in basements across Juba were moved into a large tent. To fill the museum, UNESCO teams went from village to village, collecting musical instruments, weapons, and beaded jewelry. Then, in each region, they would have a festival and invite neighboring tribes to learn about one another. The project was a success, according to the then UNESCO culture specialist Ellen Lekka.

In addition to the national archives, UNESCO did a project called Travelling Exhibition between 2013-2014 during which communities in three states (Eastern Equatorial, Western Bar El Ghazal, Western Equatorial) were visited and music recordings in addition to collection of objects, folktales, traditional craft techniques, dances, among others were collected.

State of digital and physical archives

According to the UNESCO project, Folklore and Traditional Music Archives constituted a valuable collection containing more than 3,000 audio recordings and photographs of traditional Sudanese music collected since 1963 as a result of different research initiatives on folklore and oral traditions from diverse Sudanese communities.

In 2013, Sudan Radio and TV, had archives of radio tapes, video tapes of TV programmes, and documentary film. Sudan Radio had archive of 160,000 hours of radio tapes. These were being cleaned, conserved and digitized with over 26,000 - 27,000 hours been converted. Sudan TV had 60,000 TV tapes in a range of formats, none yet converted. Also on the same campus as Sudan Radio and TV was a cinema archive of 7,000 documentary films of huge importance for Sudanese history and culture since independence. These were in a very poor state.

Inaugurated in 1902, Khartoum University holds materials on music, folklore from different parts of Sudan and also has a digital library.

An uncertain future

In December 2013, a power struggle erupted between President Salva Kiir, of the dominant Dinka tribe, and Vice President Riek Machar, from the smaller Nuer. The following day, soldiers moved across the capital executing civilians. The ensuing new civil war from that personal clash pitted the Dinka against Nuer and all South Sudanese.

No ground had been broken on the historic cultural complex, so artifacts collected for the museum were sent to the Nile River Museum in Egypt for safekeeping and other documents were moved into a rented house. After a promising ceasefire in 2015, South Sudan began picking up the pieces of unfinished cultural projects.

But in July 2016, on the eve of the country’s fifth birthday, the president and the vice president, backed by their loyal troops, resumed their power struggle.

For weeks soldiers in Juba killed and raped with impunity, targeting minority tribes, foreign aid workers, and local journalists. Salah Khaled, the country director for UNESCO was shot multiple times and eventually left the country. By July 9, nearly 200,000 people had followed suit.

As the world celebrated World Refugees Day on 20 June 2016, it was reported more than three million people, or a third of the population of South Sudan have fled their homes, creating Africa's biggest refugee crisis since the Rwandan genocide.

According to the Anna Rowett, the serving head of Culture Programme, UNESCO Juba, there are currently no music archives. Some music instruments were collected by Ellen Lekka under the Travelling Exhibition programme. Some of these are now on display in Egypt, but there is nothing notable collected by UNESCO in Juba.

Challenges and formulation of policy

There is lack of funds from within the government budget and donors are focused on humanitarian needs than responding to needs for culture. According to the initial UNESCO project, cultural challenges include the urgent need for capacity-building to create an improved mechanism for data acquisition, digitization, storage and retrieval, as well as implementing adapted measures to ensure the security and safety of the archives.

Also, war, famine, displacement and the ravages of time, climate and lack of funds means that the cultural heritage of the country is under severe threat.

However, there is a growing interest in culture heritage preservation despite the numerous challenges. A culture policy is being developed and the ministry of culture has a consultant working on it with UNESCO advising its development.

References

Please log in to post a comment.

Most popular

Disclaimer: Music In Africa provides a platform for musicians and contributors to embed music and videos solely for promotional purposes. If any track or video embedded on this platform violates any copyrights please inform us immediately and we will take it down. Please read our Terms of Use for more.

newsletter banner

Subscribe to our monthly Newsletter

Follow us on social media