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

Features

Ugandan artist Ssewakiryanga’s musical journey with Janzi Band

07 Oct 2015 - 15:26

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While in Europe during one of his visits, James Ssewakiryanga met some men in a music store with whom he had a chat. When he told them he was an artist from Uganda, they asked him about his music. He told them he played adungu (harp). They could only identify the instrument as a kora.

Janzi Band. Photo courtesy of Janzi Band Facebook page

When they asked him about the type of music Ugandans play, Ssewakiryanga felt embarrassed. He could not explain a particular Ugandan style. He felt challenged and hurt for his country and on his return, he felt he needed to do something. He also realized that Ugandan musicians, were easily recognized at home but not that much beyond the country's borders. “I did not know how it would turn out but I needed to do something about the situation,” he recalls.

The birth of Janzi Band

Back home in 2009, Ssewakiryanga teamed with Jackson Kirya, a South Africa-based saxophonist, who was playing with Qwela Band, at the time, Steven Oundo, a former Tusker Project Fame contestant, now based in the US and Abraham Sseka to form Janzi Band.

The band had its first gig on 27 August that same year, at Iguana Bar in Kololo, an upscale Kampala suburb. But Ssekiryanga needed more than four musicians for the band’s first show because Iguana Bar had a big audience. He hired some musicians from Qwela Band.The show was a success. The band’s sound was something new to the audience. “That very night, Janzi got booked to play at a wedding ceremony,” Ssewakiryanga says.

Iguana Bar also signed on the band to play at the place every last Thursday of the month. They became the second band to play at the Kisementi-based hangout after The Blood Brothers. Before long, Sheraton Kampala Hotel also booked them to play there on a weekly basis.

“Our music is more about our stories. Some of them are childhood stories that we modify. Many times when we play our music, it is not strange. Someone has an idea of what we are singing about,” Ssewakiryanga explains.

They have since recorded songs such as Eka and Njabala. However, in 2010, Ssewakiryanga had to travel again and the band realized a problem of continuity from the people that were giving it business. “I am not sure what happened then, because when I travelled, the band was supposed to keep playing. I was told that it was no longer the Janzi they knew so it was put on hold,” he recounts.

When he returned, it was almost back to scratch. “I had to look for new members because some members had left for personal projects. Oundo had left for the US, Kirya had gone back to South Africa, where he had a family, guitarists Bright Buko and Ronnie Mutebi had left,” he reveals.

The band members

Today, the band comprises eight members, including James Ssewakiryanga (band leader/founder/vocalist), Abraham Ssekasi (guitarist, harp player and percussionist), Trevor Muhumuza (music director and keyboard player), Valeur Kalinda (drummer), Brian Gideon (lead vocalist and guitarist), Allan Okia (bass guitarist/music producer), Joseph Kizito (saxophonist) and Hakim Kiwanuka (percussionist).

Uniquely, it is an all-male band. Ssewakiryanga explains why: “I would not say that I do not like ladies. I like them because they have got something special. They give you an audience because we know some men go to watch bands because of the ladies. We had them but at some point, we had some disagreements on how I wanted the band to operate.”

He adds that the problem is that ladies want too much attention and for Ssewakiryanga, the band takes precedence over members. “People have criticized me for having an all-male band and I have always asked them if it is by law that every band has to have ladies. UB40 stood for years and they never had a woman.

It worked for them. Why do Ugandans think we cannot do it? It is hard to take music away from Ssewakiryanga. He hails from a musical family. He is the son of James Ssewakiryanga (RIP), former director of Bebifanana Abifuna, a musical group. He is the only son in a family of five children.

“But I would not say my father taught me music. It was my mother instead. She is a traditional dancer. She taught me the xylophone. She was always there to pass onto me whatever musical skill she knew,” he recollects.

That premised his love for music, a dream that he realized as a solo artist and with the band. He has also worked with Jazz maestro Isaiah Katumwa. Ssewakiryanga thinks Uganda has lost its music identity. “I do not even understand the music we are producing. We think about a beat but not the message we are putting out there. You will not compare Uganda with the likes of South Africa or Jamaica, whose music can immediately be identified,” he argues.

He takes a swipe at corporate companies, which he accuses of misleading the young generation into believing that Western music is better than ours by heavily sponsoring Western artists at the expense of the local ones.

About the band

The name: Janzi is a name they got from the local name of a grasshopper. Ssewakiryanga explains that they chose the name because they wanted their music to fly around the world. Where they play: The band plays at Zone 7 in Mbuya, Kampala every Wednesday. They also play at Pyramids on Yusuf Lule Road, Kampala on the first and third Friday of the month. The band also headlines at Mosa Courts in Nakasero, Kampala and every second and fourth Friday of the month.


Originally published in the Daily Monitor on 22 August 2015


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