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

Reggae in Ethiopia

20 Jun 2016 - 08:25

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By John Grinling

Reggae music swept around the world in the 1970s and then ebbed slightly in most places. In Ethiopia, the situation wasn’t any better: reggae was considered 'underground' and therefore did not feature on the Ethiopian airwaves, nor did it receive much attention in the live music venues in Addis Ababa. Despite the lack of proper promotion, reggae's hypnotic rhythms and conscious message engulfed the hearts of a few artists who were keen on promoting the genre. This text provides an overview of Ethiopian reggae and the artists who have kept it alive.

A member of the Imperial Majestic band. Photo by John Grinling

Ethiopia remains at the heart of many reggae enthusiasts around the world as it features in several songs by legendary Jamaican artist Bob Marley, the genre's biggest star. For example, in the song ‘Exodus’, Marley sang: “Exodus, movement of Jah People! We know where we are from. We are leaving Babylon, we going to our Fatherland”. A central theme in Marley’s songs was indeed the repatriation of black people to Zion, which in his view was Ethiopia, or more generally, Africa.

Emperor Haile Selassie I’s visit to Jamaica in April 1966 fuelled the influence of the Rastafarian movement in Ethiopia, paving the way for the development of Roots Reggae. Further, during his visit, the emperor encouraged Rastafarians to repatriate to Ethiopia. Heeding the call, more than 2000 Rastafarian immigrants from Jamaica gradually arrived in Ethiopia, with most settling in the city of Shashamane, about 250km south of the Ethiopian capital, Addis Ababa.

Key reggae artists in Ethiopia

One of Ethiopia’s first homegrown reggae artists was Yohannes Bekele, popularly known as Jonny Ragga. Born in 1977 in Addis Ababa, Jonny’s love affair with music began taking shape while attending Bole High School. He got the opportunity to practice his singing and DJing at a venue called Ram Jam[i], one of the most popular reggae clubs in Addis at the time. At the age of 17, Jonny joined the Medina Band and started performing live. In 2005 he released his first critically acclaimed reggae album, Kulfun Sechign (Give me the Key), which received massive attention and introduced him to the international reggae scene. Recently, Jonny performed alongside Jamaican star Chronixx at a concert in Ethiopia’s Bole Fana Park.

Tewodros Kassahun - better known as Teddy Afro - is one of Ethiopia’s best-known artists. His reggae anthems have made him the darling of Ethiopians worldwide - none moreso than 'Yasteseryal', the title track of his third album, released in 2005. Yasteseryal included politically and socially inspired songs and caught the government's attention, subsequently landing the artist in trouble. It did not help matters that the album was released at the time when the country was holding its general elections. While the album is said to have sold more than a million copies, the government banned some songs. Tensions with authorities arguably grew even worse with his next release, Tikur Sew, which seemed to rock the regional balance of powers in Ethiopia. Teddy then got arrested in connection with an alleged hit-and-run manslaughter case and was sentenced to six years imprisonment in April 2008. Following an appeal, the famous singer was released in August 2009.

Teddy’s second album, Abugida (named after the distinctive Ethiopian syllables) contained hits such as ‘Haile Selassie’, in honour of the overthrown emperor; ‘Mona Lisa’, a song about beauty; as well as ‘Haile Haile’, a tribute to world-renowned Ethiopian long-distance runner Haile Gebreselassie.

Haile Roots is another Ethiopian star whose unique blend of Ethiopian culture with reggae sounds has earned him a loyal fanbase. His album Chiggae is so named by connecting the term for the tell-tale triplet rhythm of Amharic music, chik chika, with reggae. Jah Lude’s 2013 hit ‘Fayamo’ provided a new approach to reggae music in Ethiopia. The word fayamo, which exists in a number of Ethiopian languages, roughly translates to 'beautiful'. In the tune, Jah Lude talks about the beauty of language and sings in various Ethiopian languages[ii].

Zeleke Gessesse is an artist whose contribution to Ethiopian reggae is more than simply beautiful rhythms. The artist has been instrumental in two large showcases that celebrate reggae music in Ethiopia. The first was on the occasion of Bob Marley's 60th birthday in 2005. Alongside Marley’s widow Rita and in collaboration with the African Union and UNICEF, Zeleke helped organise the $1million extravaganza in Addis dubbed 'Africa Unite'. The second showcase was 10 years later, on what would have been Marley’s 70th birthday. The free concert featured local reggae artists such as Jalud Awol, Abenet Agonafer, Kenny Allen, Sydney Salmon and Ras Jani, among others. During the celebrations, Ethiopian authorities also inaugurated a bronze statue of Bob Marley, sculpted by Bizuneh Tesfa. The statue was commissioned by Zeleke and his brother Addisu as well as the businessman Awad Mohamed. He released his fourth album Ayzone in August 2015.

Newcomer Sami Dan is another emerging talent on the Ethiopian reggae music. In early 2016, Sami released his new album Keras Gar Negeger, which earned him numerous nominations at the 2016 Leza Awards.

Zion Vibration is another popular reggae crew. They first emerged out of Ethiopia’s Hawassa region in 2013 with the release of their single 'Mela Mela'. [iii]

Other than Ethiopia's homegrown reggae talent, Jamaican-born Sydney Salmon moved in 2001 to Ethiopia with a desire to contribute to Ethiopia’s growing reggae scene. Since his formal repatriation, Sydney founded the Imperial Majestic Band and through hard work has built up a sizable following for authentic Reggae music in Ethiopia. The Imperial Majestic Band features Trinidadian Ras Kawintseb on guitar, Jamaican Alton Ricketts on drums, Ma’an Judah from the Philippines on keyboards and Ethiopian trumpeter Salomon 'Bajaj' Betremaryam. The group was later joined by Italian percussionist Nikko Masolini, guitarist Andy Bete Zema as well as singers Pat Joseph from Jamaica and 'Little' Helen Legesse from Ethiopia.[iv]

Events and venues

Around 2011, quite a few venues in Addis Ababa featured reggae music every week. Club Alizé, Club Illusion and the Sheraton were some of the venues where one could listen to live reggae. Vibration Cocktail Bar is another venue that organised reggae sessions over the weekends featuring mainly local artists[v]. In 2014, the Imperial Majestic Band could be heard on weekends at the JazzAmba, a large concert hall alongside the Itegue Taitu Hotel. But this venue sadly burnt down in January 2015. At that time, live reggae was also being played at the Smokey Blues Café.

It has become very challenging for reggae lovers to find a venue that consistently showcases live reggae in Ethiopia. Sydney Salmon and the Imperial Majestic Band drew large crowds every weekend at Jams, a good setting in the vicinity of Bole Airport, but the place has since closed down.

By early 2016, it was no longer easy to experience a live performance by Ethiopian reggae artists. However, reggae fans have some reason to smile as Sydney Salmon and the Imperial Majestic Band have recently resumed playing every Saturday at the African Jazz Village on the grounds of the Ghion Hotel, where Bob Marley himself is said to have sung 'No Woman No Cry' during a short visit to Ethiopia in 1979.

The city of Shashamane, which hosts a large community of Rastafarians, hosts an annual two-day concert on the occasion of Bob Marley’s birthday in February called Reggae in the Rift Valley with the participation of numerous local and international reggae musicians.

Challenges

Ethiopia's lack of live music venues is not the only problem that reggae artists have to endure.

Fees for hiring out venues are not consistent. If performances are successful and the audiences large, owners tend to inflate their prices for hiring the venue. On the contrary, if concerts fail to attract enough people, venues will be quick to look for an alternative group - and the choice is large.

It must be said that the music scene in Addis Ababa is particularly unstable. Over 20 excellent music bands can be heard in the capital at any given time, featuring diverse styles ranging from traditional to Ethio-jazz. Numerous large groups - such as Zemen Band, Zagol Band, Lubac Acoustic Band, Admas Acoustic Band, Express Band or Hasset Band - perform weekly in numerous venues, playing a mix of popular Ethiopian music, international hits and some reggae.

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