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

Preserving musical heritage in South Sudan

26 Oct 2017 - 13:12

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South Sudan is considered as one of the most diverse and culturally rich countries in the world. More than 64 indigenous languages are spoken in the country and this has resulted in different traditions and cultural practices.

Sudd Institute co-founder and former undersecretary of culture in South Sudan Jok Madut Jok. Photo: Facebook

Before South Sudan declared independence from Sudan in 2011, Southerners, who were treated as religious and ethnic minorities, had accused the Sudanese government of denying them political power and economic support.

Independence and cultural heritage of South Sudan

More than a year after independence, the then undersecretary of culture, Jok Madut Jok, was tasked with unifying a diverse population – estimated at 10.5 million people – living in one of the world’s least developed countries defined by decades of war.

In September 2012, a three-day workshop was held in Juba. It was led by the Ministry of Culture in partnership with the UN Educational, Scientific and Cultural Organisation (UNESCO) and the African World Heritage Fund. Its aim was building capacity to preserve the country's rich cultural heritage, as well as historic and natural sites.

The Institute of African and Asian Studies (IAAS) at the University of Khartoum then finalised a project aimed at safeguarding audio-visual materials of traditional Sudanese music housed in the Folklore and Traditional Music Archives at the University of Khartoum. The university, which was inaugurated in 1902, holds musical works and folklore from different parts of Sudan. It also boasts a digital library. An action plan for the management and preservation of the archives was set up, with financial support of about $12 000 coming from the Intangible Cultural Heritage Fund.

In South Sudan, a museum and theatre were also proposed and the Ministry of Culture set aside a plot of land for the complex in Juba. Thousands of historic documents, which had been rotting in basements across Juba, were moved into a large tent. To populate the museum, UNESCO teams went from village to village, collecting musical instruments, weapons and beaded jewellery. Then, in each region, they held festivals where neighbouring tribes were invited to learn about each other. According to UNESCO culture specialist Ellen Lekka, the project was a success.

In addition to the national archives, UNESCO instated a project called Travelling Exhibition between 2013 and 2014. Communities in three states – Eastern Equatorial, Western Bahr el Ghazal and Western Equatorial – were visited during the project and music recordings were made in addition to the collection and archiving of objects, folklore, traditional crafts and dance styles.

The state of digital and physical archives

According to the UNESCO project, the Folklore and Traditional Music Archives in Khartoum comprises a valuable collection containing more than 3 000 audio recordings of traditional Sudanese music and photographs collected since 1963 as a result of various research initiatives.

In 2013, Sudan Radio and TV had extensive archives of audio tapes as well as video tapes of TV programmes and documentaries. These included 160 000 hours of radio tapes that were cleaned, conserved and digitised. About 27 000 hours of audio was converted. Sudan TV also had 60 000 TV tapes in a range of formats but none of them were converted.

Also, on the same grounds where the buildings of Sudan Radio and TV are located, there was a cinema archive of 7 000 documentary films considered of huge importance to Sudanese history and culture since independence. These were reported to be in a dilapidated state.

Challenges to perservation of cultural heritage

In December 2013, a power struggle erupted between President Salva Kiir of the dominant Dinka tribe and then vice-president Riek Machar who is a member the smaller Nuer tribe. Soldiers moved across the capital, Juba, executing civilians. The ensuing civil war pitted the Dinka against the Nuer.

At the time, the construction of the new museum had not begun and the artefacts collected for the facility were sent to the Nile River Museum in Egypt for safekeeping. Other documents were stored in a rented house. After a promising ceasefire in 2015, South Sudan began picking up the pieces of its unfinished cultural projects. But in July 2016, Kiir and Machar, backed by their loyal troops, resumed their power tussle. For weeks, soldiers in Juba killed and raped while targeting minority tribes, foreign aid workers and local journalists. UNESCO South Sudan director Salah Khaled was shot several times and eventually left the country. Nearly 200 000 people followed suit. As the world celebrated World Refugee Day on 20 June 2016, it was reported that more than 3 million people, or a third of the South Sudanese population, had fled their homes. This was Africa's biggest refugee crisis since the Rwandan genocide.

The culture programme head at UNESCO Juba, Anna Rowett, says their work on the national archives contains no music. Some music instruments were collected by Ellen Lekka under the Travelling Exhibition programme and are now on display in Egypt, but there is nothing notable collected by UNESCO in Juba. This is due to a number of challenges that include lack of government funding and donors favouring humanitarian priorities above responding to the cultural needs of the country. There is also a need for capacity-building to create improved mechanisms for data acquisition, digitisation, storage, retrieval and implementing various measures to ensure the security and safety of the archives.

Growing interest and policy formulation

War, famine, displacement and lack of funds means that the cultural heritage of South Sudan is under severe threat. However, there is growing interest in its preservation despite the many challenges. A draft culture policy is still being developed and the Ministry of Culture is supportive of its creation. The ministry has a consultant working on this policy while UNESCO plays an advisory role towards its development.

References:

This article is part of the Music In Africa Connects project, a multi-faceted development initiative aiming to support the music sectors of African countries affected by conflict. To find out more about Music In Africa Connects, click here.

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