NEFCISA
NEFCISA

The Music In Africa Foundation (MIAF) is proud to announce 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 launching a new national programme designed to create jobs, address skills gaps, and strengthen 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 will recruit and train participants, match them with host organisations, and place a minimum of 1 000 workers across the country. 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 has stamped its authority as Africa’s leading music trade event. At the 2019 edition in Accra, the conference brought together more than 1 200 delegates from about 50 countries on the continent and beyond. The conference also hosted 76 showcasing artists from Africa and the diaspora, who got to perform for an influential audience at two top live venues in the Ghanaian capital. Apart from live showcases, the event features panel discussions, presentations, exhibitions, pitch sessions, Q&A sessions with prominent musicians and visits to key music industry hubs in the host city. Many of these activities will be planned for ACCES 2021, with the ACCES team already exploring a tailor-made programme that will cater for the specific needs of the local music industry amid the pandemic. ACCES is organised by the Music In Africa Foundation, a non-profit and pan-African organisation, in partnership with Siemens Stiftung and Goethe-Institut.

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 claire@musicinafrica.net. 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 Uganda

16 Sep 2015 - 14:04

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By Bamuturaki Musinguzi

This text provides an overview of reggae music in Uganda.  Uganda’s airwaves and nightclubs are dominated by international artists. Local reggae musicians - some of whom have attained global fame – still struggle to find regular live gigs. Nevertheless, reggae still enjoys a loyal following in Uganda.

Madoxx performs at Bayimba festival. Photo:www.chimreports.com

According to Tshaka Mayanja[i], one of leading reggae artists in Uganda, the genre first became popular in the country in the early 1980s as a result of famous global icons such as Jimmy Cliff, Bob Marley & The Wailers, Third World, Gregory Isaacs, Eric Donaldson, Sandra Cross, Boris Gardner, Judy Boucher, Ginger Williams, UB40, Maxi Priest, King Yellowman and Aswad, among others.

“Most of the popular songs then were Lovers Rock reggae songs. It was only a few who were Roots reggae and dancehall, till the late 80s. Reggae dancehall then took over from the 1990s. But I must say, both Roots and Lovers Rock are still growing and going strong in Uganda,” says Tshaka. “In Kenya though, classic Roots reggae has the upper hand, from time immemorial to this day,” he says.

Key artists

The major Ugandan reggae artists are David Ssemanda Ssematimba[ii] (aka Madoxx), Tshaka, Blood Brothers band, Bebe Cool (real name Moses Ssali) and Daniel Kyeyune Kazibwe (aka Ragga Dee). The list also includes Peter Miles, Red Banton, Mega Dee, Coco Banton, Ssuuna, Fireman, Mad Tiger and Weatherman. There is also a new band Roots Rockers headed by Ras B. Ssali and Jenkins Mukasa, among others. Among these it is only Madoxx and Tshaka that write, record, release and publish complete reggae albums.

Arguably Uganda’s best reggae star Madoxx was born in Kampala in 1971. He relocated to Sweden in 1991, where he arguably recorded his best music to date. He returned home in 2009. He is a popular Roots reggae musician with two albums under his belt, Tukolagane (2001) with tracks like ‘Namagembe’, ‘Omukwano Gwafe‘ and ‘Eddembe‘; and the 12-track Abato (2006), which has tracks such as ‘Kampala’, ‘Come let’s rock‘, ‘Leka Nkulage’ and ‘Nakatudde‘. He sings in English and Luganda but most of his reggae ballads are in Luganda. Tukolagane was the most popular album of the year 2002; and his hit ‘Namagembe was named Song of the Year in Uganda.

With more than 500 of his own compositions and arrangements, 43-year-old Tshaka Mayanja has made his mark in Uganda, as a reggae singer and lately a jazz artist, songwriter, producer and promoter. Tshaka’s music is an amalgamation of jazz, funk, soul, salsa and the blues, with Roots and Lovers Rock reggae providing the foundation of a career that has made him one of the most prolific and multi-talented artists to emerge on the live scene in Uganda. He performs with a band called Black Roots Unlimited. Tshaka wrote, arranged and played all the music on his 12-track album Dark Chocolate (Blackroots Muzik, 2005). It was followed by Reggaeology - Chapter 1: Bass after Dark (2006), The Pragmo'tive Is "II" Chill Out (2007) and The Enfunkclopedia of Jazz (2008).

“I love the blues, jazz and soul for the raw sensuality and passion they provide. Reggae, my foundation, is borne out of the above forces,” says Tshaka, who plays several instruments including bass, piano, drums and percussion.

Founded in 1993, Blood Brothers is Uganda's oldest reggae band. The band is headed by Ras B. Ssali, who was born in Kampala in 1968. He started his music career in 1989 at the Uganda National Cultural Centre in Kampala. The band released its first eight-track album, Peace In the World, in 1992. It was recorded by Andrew Crawford in Nairobi. The album was followed in 1996 by Mwedemu, recorded at various studios in Kampala.

Bebe Cool[iii] (aka Moses Ssali) was born on 1 September 1977 in Kampala. He started his music career around 1997 in Nairobi, Kenya as one of the first artists affiliated with the Kenyan record label Ogopa DJs. His rise to stardom began with his collabo with Ugandan star Bobi Wine in the hit single ’Funtula and later ‘Mambo Mingi‘ with Halima Namakula. Bebe Cool sings in Swahili, English and Luganda and has released a number of albums such as Maisha and Senta. His popular singles include ‘Fitina‘, ‘King of the Jungle‘ and ’Never Trust No People‘.

Together with Kenyan duo Necessary Noize, Bebe Cool formed a reggae group known as the East African Bashment Crew. They have released one album, Fire, and two hit singles, ’Africa Unite‘ and ‘Fire‘. Bebe Cool has won several prizes, including numerous Pearl of Africa Music (PAM) Awards. He was nominated for the Kora All-African Awards in 2003 and 2005 and has toured in the UK, the US and South Africa, among others.

According to Tshaka, “Bebe Cool is very eclectic, with lots of other genres mixed in with his album releases: Afro-pop, dancehall and reggae, among others. This has helped him to cut across several music tastes, which is commendable.”

Born in 1973, Ragga Dee’s[iv] musical journey started in 1988. He became popular in the mid-1990s for producing hits like ’Bamusakata‘ and ’Mukwano‘ while he was part of a group called Da Hommies. Ragga Dee’s music is an amalgamation of reggae, ragga, hip-hop and Lingala. He has released 18 albums to date. He won the PAM award in 2004 for Best Ragga Artist of the Year. In 2005 he won Best Album at the Golden Awards in Uganda.

The state of Ugandan reggae today

Today Uganda’s typical style of reggae is made up of mainly ballads delivered with bouncy Roots reggae tunes, fused with Afro-pop, dancehall, funk and Afro-Cuban music, for example.

As to the current state of reggae in Uganda, Tshaka observes: “As far as local or indigenous reggae is concerned, it's virtually non-existent, especially Roots and Lovers Rock reggae. Local artists have a bias towards dancehall, mainly because its beat-oriented. However, reggae from international artists is very much alive and popular here at the moment.”

Tshaka has been credited with popularizing reggae in Uganda. Under his promotion company Yohannes Ham Inxs, Tshaka has brought the popular international reggae stars like Lucky Dube (RIP) from South Africa and numerous Jamaican musicians, including Chaka Demus and Pliers, Spanner Burner, Aswad, Buju Banton, Third World, Shabba Ranks, Papa San, Cedella Marley- Booker, Red Rat and many others, all in a bid to popularize reggae on the African continent. The latest was UK reggae stars UB40 in 2008.

Another reggae artist, Ras B. Ssali (real name Godfrey Ssali) notes that reggae’s popularity is slowing down in Uganda. “Reggae is not popular but it's known,” he says. Acknowledging that Uganda has only managed to produce a handful of ‘serious’ reggae artists, Ras B. Ssali observes: “Roots reggae isn't mainstream music. It’s not the kind for a businessman. No one can ever popularize it.”

Ras B. Ssali says he had started a regular reggae gig dubbed ‘Reggae Platform’, which he would not sustain due to lack of funds. He adds that although he is not so active at the moment, a group of DJs like the Ras Clan still rock bars in Kampala. Tshaka agrees: “Due to lack of live reggae bands and clubs in Uganda, reggae has suffered. However, reggae is the genre that has had the longest run in nightclubs. Reggae is here to stay!”

Ras B. Ssali is also optimistic on the future of reggae in Uganda, saying: “Reggae has a future in Uganda that cannot be ruled out. Uganda just needs full-time reggae musicians and not guys who just drop one or two tracks.”

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