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.

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

Features

Shoke Shoke: Promoting sustainability through music

05 Sep 2023 - 13:37

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Baraza Mwabe, or Bari to his friends, is a man who is certain about his abilities. A minute with him and you can tell he knows what he wants. Having worked in the sales and marketing world, words are his stock-in-trade and he can easily charm his way into any situation.

Shoke Shoke Festival founder Baraza ‘Bari’ Mwabe.

These days he is all about changing minds, or flipping the narrative, as he likes to say. So how did he arrive here?

It all began in 2012 when Bari formed Mwanaume Ni Effort (MNE), a merchandising company in Kenya’s capital Nairobi. He was in his early 20s and the goal was to approach marketing by looking at it from the customer’s point of view to find new solutions. By 2015, the company had expanded into the events space.

“We started with things like quiz nights then moved to events of 200 to 300 people,” he says. “Then we got a chance to work with some major brands. We made mistakes, made a lot of money, and lost a lot of money.”

Post-COVID, Bari and his team decided to shake things up, which gave birth to a festival called Shoke Shoke.

“To mark 10 years of MNE, we decided to move it into a festival space. Shoke Shoke is a play on the Swahili word kesho, meaning ‘tomorrow’. Just like the word has been flipped, we are aiming to change the narrative of tomorrow by acting today. With Shoke Shoke, we were exploiting the skills we had acquired over the years. Now was the time to build and scale up events that attract thousands of people, but with sustainability as the driving agenda. We have set up Shoke Shoke as a youth sustainability brand focusing on three pillars – environment, education and entertainment. The whole idea is to educate the youth about sustainability.”

For Bari, sustainability goes beyond just the environmental aspect. “It also has to do with the decent work opportunities, gender inclusivity, poverty eradication and even access to education.”

So why entertainment and music in particular? “I feel like music is an easy, fun way to get people into serious conversations. Entertainment is such a big industry that creates a lot of opportunities. There are so many people that have to come together, for instance, for a festival to work – from the musicians, the DJs, the production team, to the security team, the people who are doing the setup and the people who are maintaining the grounds. This in itself calls for sustainable practices.”

The first Shoke Shoke Festival was held in Nairobi in March this year with Afrobeats star Ayra Starr as the headliner. Bari says the festival was a success and that’s why Shoke Shoke 2.0 is coming up soon.

“We’d like to be at the intersection of brands and initiative partners whereby we are the vessel that brings the urban youth towards sustainability and making them champions of change. A lot needs to happen at the policy level, but for us we’re bringing this together and plugging it in an organic way,” Bari says.

As such, Bari and his team will be looking not only to deliver a world-class concert but to plant sustainability seeds in the minds of festivalgoers. This will involve planting trees and using eco-friendly materials by minimising single-use plastic. Indeed, Shoke Shoke has once again teamed up with greening enterprise Miti Alliance and pledged to plant one tree for each ticket sold.

On the social front, there will be specific messages, both on- and offstage, aimed at creating awareness about pressing issues and what needs to be done.

In the run-up to the festival, Shoke Shoke has held a few online and offline activations, under the tagline Funstenance, all geared towards promoting the event and spreading the gospel of sustainability.

I ask Bari if he believes he has all this figured out. Like the sagacious 36-year-old he is, his response is as appropriate as it is reassuring: “Right now it’s a blank canvas whereby we’re just trying to figure out all the ways we can get as many people, especially the youth, to understand the concept. We don’t want to come out as know-it-alls, so we try to engage as many people as possible, from policymakers to people on the ground, and see to it that we’re all reading from the same page. That’s how I look at sustainability, both in theory and in practice.”

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