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

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« Combattants » : un phénomène qui tue la musique congolaise

Home/Non classé/« Combattants » : un phénomène qui tue la musique congolaise

Nous sommes en 2011, Koffi Olomidé, JB Mpiana, et Werrason font campagne pour le président Kabila, candidat pour un second mandat à la tête du pays.

Pendant ce temps, la diaspora congolaise proche de l’opposition, décide de boycotter les concerts de ces artistes accusés de soutenir la majorité au pouvoir.

JB Mpiana en a payé les frais. Fin 2013, son concert prévu au Zénith de Paris est annulé. Les combattants multipliaient des menaces à l’endroit de l’artiste, lui promettant « un chaos ».Depuis, JB n’a plus  jamais donné des concerts en France.

[video:https://www.youtube.com/watch?v=squGUhe6MEE width:853 height:498 align:center autoplay:0]

Koffi Olomidé, menacé également, ses ennuis judiciaires dans l’Hexagone l’empêchent d’y mettre les pieds.

[video:https://www.youtube.com/watch?v=y9aXYL9NFPQ width:853 height:498 align:center autoplay:0]

 Un concert de Fally Ipupa prévu le 22 juin à la Cigale, une salle de spectacle parisienne, est annulé.

Selon la préfecture de Police de Paris, le concert suscitait  « une mobilisation croissante chez les opposants radicaux congolais ». Ils « ont déposé plusieurs déclarations de manifestation pour le 22 juin aux abords de la salle de spectacle avec l’intention d’en découdre avec les spectateurs du concert,  de créer des désordres à l’intérieur et à l’extérieur de la salle et de s’en prendre à l’artiste »

Dans un tweet, la star congolaise dit « regretter cette décision ». « Pour moi, ce concert était d’abord l’occasion de retrouver mon public, mes fans et de leur présenter mon nouvel album Tokooos.

« Je me réjouissais de porter une nouvelle fois les couleurs de la musique congolaise et de mon pays », a-t-il ajouté.

[video:https://www.youtube.com/watch?v=O7rfzmmNWq8 width:853 height:498 align:center autoplay:0]

Visiblement, les combattants ne s’en prennent plus aux artistes qu’ils qualifient, selon eux, « proches du régime » et Fally ne participe pas à des campagnes politiques pour le compte du régime.

L’annulation d’un concert porte préjudice à un artiste. Les spectacles permettent aux musiciens de gagner de l’argent, ce sont des revenus complémentaires aux ventes d’albums.

Au Congo, les musiciens ne font pas la politique. Ils sont approchés par la majorité au pouvoir, celle-ci les paye des sommes importantes pour des propagandes politiques.

« Je suis un artiste, n’importe qui peut m’inviter à chanter pour lui, qu’il soit du pouvoir ou de l’opposition », déclarait récemment JB Mpiana sur une chaîne de télévision.

C’est inacceptable que des combattants continuent de priver les artistes des revenus qu’ils tirent des spectacles.

Les musiciens ne doivent plus être la cible des combattants.

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