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

South Sudanese music finds a voice in East Africa

17 Dec 2018 - 09:00

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This article provides an overview of recent trends in South Sudanese music, particularly one which has seen the country’s contemporary popular music scene dominated by musicians who have returned from exile. These musicians have come to redefine the sound of South Sudan while finding growing audiences in other East African countries.

Rapper K-Denk has gained noteworthy recognition outside South Sudan. Photo: Facebook

Historical background

South Sudan gained independence from Sudan in 2011 to become a sovereign nation after a series of wars that lasted more than 22 years and displaced millions of people. The First Civil War lasted from 1955 to 1972 and left more than 500 000 Sudanese dead. The Second Civil War left a further 2.5 million people dead, with a further 4 million displaced between 1983 and 2005.

After independence, South Sudan enjoyed a brief period of peace as its refugees returned from exile. This period marked a boom in the South Sudanese music scene, as musicians brought various influences back with them. But it wasn’t long before a power struggle within the new government triggered a return to conflict. On World Refugee Day (20 June 2017), it was reported that more than 3 million people had fled their homes. This represented a third of the South Sudanese population and led to Africa's biggest refugee crisis since the Rwandan genocide[1].

Influence of migration on South Sudanese artists

The First and Second Civil wars had a profound effect on the South Sudanese music industry, largely because emigrants, who had assimilated new cultures in their countries of refuge, returned with the new musical influences.

Ex-child soldier Emmanuel Jal was rescued by British aid worker Emma McCune, who smuggled him into Nairobi, Kenya, and raised him. In 2005, he released his first album Gua, which means ‘peace’ in his native Nuer tongue[2]. The title track was broadcast across Africa on the BBC, and it gave Jal a spot on Bob Geldof’s 2005 Live 8 concert line-up. He also released a collaboration with North Sudanese folk singer Abdel Gadir Salim titled 'Ceasefire', which brought the two opposing sides of the Sudanese conflict together behind the unifying message of peace[3].

In 2007, rapper Silver X – now one of South Sudan’s most popular musicians who has nine studio albums to his name – first returned from Uganda where he had been a student. He visited a nearby government office, with lyrics in hand, to secure funding to record an album. A bureaucrat working at the office saw the lyrics as a means of inspiring members of the South Sudanese diaspora to return to the country and offered him a $1 000 grant to assist with studio costs[4].

Hip hop artist Lual D’Awol, who grew up in Baltimore, US, and whose stage name LUAL is an acronym for 'Lyrically Untouchable African Legend', is another well-known name in the South Sudanese music scene. He brought back musical influences from the US when he returned to South Sudan in 2009[5]. LUAL's songs address the country's socio-economic challenges, such as in the song 'Dowla Jadit' (New Nation), where the rapper criticises local officials who he claims use the slogan 'We Are a New Nation' as an excuse for a lack of public services such as water and electricity[6].

Born Angelo Maku, Yaba Angelosi emigrated to the US in 2000, later joining a South Sudanese Afrobeat band called Sosa Musica in Nashville, Tennessee. After playing with the band for two years, Angelosi decided to pursue a career as a solo artist. He has performed all over the world, including at the White House during Sudan’s Comprehensive Peace Agreement in 2005. He is the co-founder of Assida Productions[7].

Khor Deng Jang, Khor DJ is another another diasporic artist who has gained success in South Sudan and abroad. Now living in Ethiopia, he was awarded the Best Male Award for his single 'Abibi' at the now defunct Miraya FM Awards in 2008. He has since enjoyed national tours and was the only diasporic artist who was invited to perform at the South Sudan Independence Celebrations in 2011[8].

The same trend holds true when it comes to the most popular female artists in South Sudan. Singer Annet Angaika, better known as Neetah Baby, lived in exile until she was 15 years old. Born in a refugee camp in northern Uganda, she only returned to South Sudan in 2008 when independence was on the horizon. She turned to singing and later produced the popular single 'Binia Wewe' (Foreign Girl)[9].

Dancehall artist Tutu Baibe also has a connection to the South Sudanese diaspora: she started singing while studying at St Lawrence University in Uganda in 2015, before returning to dominate South Sudan’s popular Top 10 Countdown show on Eye Radio, which led to celebrated collaborations with local artists including Silver X[10].

Growing influence of South Sudanese artists in East Africa

As well as having a large impact on the South Sudanese music scene, some of these returning musicians are finding an increasingly large audience in other East African countries.

South Sudanese musician Kuonck Deng, popularly known as K-Denk, is arguably more popular outside South Sudan than in it. The former Tusker Project Fame contestant is known across East Africa for his 2012 song 'Niko' featuring Kenyan radio presenter Sana. He records most of his music in Ethiopia and Kenya[11].

In 2015, Emmanuel Jal performed in Nairobi, Kenya, at the Ndovu Zetu Concert held at the UN Recreational Centre, alongside other regional stars such as Tanzania’s Venessa Mdee and Congolese singer Syssi Mananga as well as Kenya's Sauti Sol, Sarabi and Juliani. The concert kicked off the Kenya Wildlife Festival, an initiative of the Kenya Wildlife Service and the Ministry of Environment, Water and Natural Resources to celebrate Kenya’s natural heritage and spotlight the dangers of elephant poaching. Jal and Juliani later went on a London tour in March 2015[12].

Silver X learnt Kiswahili in a bid to appeal to Kenyan audiences and collaborated with musicians in that country. In 2015, he released 'East African Lover' with Renee and launched the video in the capital Nairobi. These efforts saw him nominated in the Best East African Artist category at the 2017 Bingwa Music Awards[13].

In 2016, singing brothers MB Law (Miyen Awet) and Rhapsody (Alor Kuol Alor) earned airplay on TV and radio stations across East Africa after the release of 'Sambala', which featured Ugandan BET Award nominees Radio & Weasel[14]. The track earned the duo a Song of the Year Award (South Sudan) at Uganda’s HiPipo Music Awards[15]. Thereafter, they collaborated with Uganda's Jose Chameleone on another popular single, 'Sera'.

Finally, on the production side of things, after graduating from Maseno University in 2010, Marvin Abwao set up the popular Marvin Music Studio in Langa Langa Estate, Nakuru, Kenya. At the time of writing (2018), the studio in Kenya’s fourth-largest city was exclusively recording South Sudanese artists[16].

Following the country's independence, South Sudanese artists have generally embraced music as a powerful medium of expression, both at home and abroad. The local music industry has largely been dominated by returning musicians, and their music is now finding a growing audience in other East African countries.

Resources and citations:

  • [1] https://enoughproject.org/blog/sudan-brief-history-1956
  • [2] https://musicinafrica.net/magazine/cultural-activism-south-sudan
  • [3] http://news.bbc.co.uk/2/hi/africa/4717515.stm
  • [4] http://www.huckmagazine.com/art-and-culture/south-sudan-returned-civil-war-musicians-new-generation/
  • [5] https://www.csmonitor.com/World/Africa/Africa-Monitor/2014/0209/S.-Sudanese-find-song-amid-war-and-hate
  • [6] https://learningenglish.voanews.com/a/south-sudan-musicians-spread-message-music/1726883.html
  • [7] https://www.duniamagazine.com/2015/09/south-sudanese-music-hit-maker-yaba-angelosi-talks-creativity-career-and-hopes-for-country/
  • [8] https://musicinafrica.net/magazine/popular-music-south-sudan
  • [9] http://www.huckmagazine.com/art-and-culture/south-sudan-returned-civil-war-musicians-new-generation/
  • [10] http://hotinjuba.com/tutu-baibe-1st-female-artist-to-top-radio-chart-twice/
  • [11] http://allafrica.com/stories/201402101908.html
  • [12] https://wildlifedirect.org/wp-content/uploads/2017/02/The-Ndovu-Zetu-Concert-Report-2015-1.pdf
  • [13] https://mobile.nation.co.ke/lifestyle/showbiz/South-Sudanese-artist-Silver-X-longs-to-work-with-Sauti-Sol/3116136-2722998-format-xhtml-pelvur/index.html
  • [14] http://hma.hipipo.com/winners/
  • [15] https://nairobinews.nation.co.ke/chillax/sudanese-singers-find-a-second-home/

This article is part of the Music In Africa Connects project, a multifaceted 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.

Disclaimer: Music In Africa's Overviews provide broad information about the music scenes in African countries. Music In Africa understands that the information in some of these texts could become outdated with time. If you would like to provide updated information or corrections to any of our Overview texts, please contact us at [email protected].

Editing by David Cornwell

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