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

Chaque année, nous fournissons des informations générales afin de guider les participants dans la préparation de leur voyage. En plus de ce site, des mises à jour importantes seront envoyées par e-mail à tous les délégués inscrits. Assurez-vous de vous inscrire dès que possible. Pour plus d'informations, veuillez contacter [email protected] Continuez à consulter cette page pour plus d'information.  

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

Pour les praticiens et les organisations culturels et créatifs opérant en Afrique australe, l’accès au financement reste un défi majeur. La pandémie de COVID-19 a également eu un impact massif sur les politiques gouvernementales, les dépenses et l’économie en général, et a vu les dépenses consacrées à la culture reléguées plus bas dans la liste des priorités. De plus, les industries culturelles et créatives citent régulièrement quatre domaines principaux où l’investissement est nécessaire pour la croissance : une visibilité accrue, la mobilité incluant l’accès à de nouveaux marchés, le financement et les structures de soutien.

Music In Africa Live
Music In Africa Live

MUSIC IN AFRICA LIVE Lancé en 2020 pour une durée de 3 ans, Music In Africa Live est une initiative visant à soutenir l'écosystème de la musique africaine face aux contraintes imposées par la pandémie de COVID-19 ; le projet a été lancé par la Fondation Music In Africa (MIAF) en partenariat avec le ministère fédéral allemand des Affaires étrangères, Siemens Stiftung et le Goethe Institut. Plus de 30 aides sont disponibles dans le cadre de la troisième édition de Music In Africa Live, dans 3 catégories :  showcases, renforcement des compétences et plaidoyer, en conformité avec les modalités énoncées.

Instrument Building And Repair Project
Instrument Building And Repair Project

The overarching objective of Music In Africa Foundation’s Instrument Building and Repair (IBR) project is to encourage the formalisation and professionalisation of instrument-making and repair in Africa, especially in relation to indigenous African instruments. Background In 2014, the Music In Africa Foundation (MIAF) identified as one of its focus areas for development the need to encourage young people from music and music-related sectors to consider instrument-making as a career. This need extended itself from the recognition that the making of traditional African instruments is not a widely practiced skill and seems to be limited to the older generation. Traditional African instrument makers are also few and far between, making communication and logistics between teachers and learners an obstacle. When instrument building workshops take place, budgetary constraints do not allow teachers or learners the time to explore the finer details of an instrument. Based on these observations, the MIAF designed and piloted the first IBR workshop at the Dhow Countries Music Academy (DCMA) in Zanzibar in February 2015. In 2016, the foundation received funding from the South African National Lotteries Commission to implement a much bigger version of the project in Johannesburg. The project drew participants from five African countries. 25 students from South Africa, Ghana, Senegal, Kenya and Ethiopia were trained on how to build and repair musical instruments. The instruments that they made were: Traditional Instruments: Umakhweyana and Marimba Conventional Instrument: Dulcimer guitar The workshop culminated in a traditional instruments concert at the Wits Theatre in Johannesburg. It is the MIAF’s aim to roll out similar workshops in as many African countries as possible over the next few years. Objectives Developing awareness of musical instrument makers in Africa with a view to promote their work to a wider global audience. Facilitating the sharing and transfer of skills in indigenous instruments between countries on the continent. Encouraging the formalisation and professionalisation of instrument-making and repair in Africa, especially in relation to indigenous instruments. Helping instrument makers develop their careers. Fostering the rapid monetisation and sustainable development of instrument-making and repair in Africa. Promoting constant exchange of ideas, expertise, experiences and know-how among instrument makers in Africa. Facilitating the identification of existing gaps in the field with a view to contribute new solutions. Facilitating the transfer of knowledge and skills of indigenous instruments between younger and older generations. 2020 edition The MIAF has also announced that multi-instrumentalist and instrument maker Joe Makhanza will facilitate one of the workshops on the building of the kamale ngoni instrument. Kamale ngoni is a kora-like, stringed instrument that originated in West Africa. The instrument contributed to the rise of Wassoulou music in the 1970s and 1990s. Makhanza was born in Giyani in South Africa's Limpopo province. He completed a bachelor of music degree and a post-graduate diploma in arts marketing from Wits University. He is currently completing his masters in ethnomusicology and is a part-time lecturer in African music studies at Rhodes University. He plays the kora, mbira, valiha, masenqo, xiwewe, ngoni ba and xizambi, among others. He also manufactures the aforementioned instruments. The MIAF will confirm more trainers who will join the workshops as well as the other instruments that will be featured in the 2020 IBR programme.  Apply to participate here. Connect with us on Twitter, Instagram and Facebook, and subscribe to our monthly newsletter. The Music In Africa Instrument Building and Repair project is funded by the National Lotteries Commission. It is implemented in partnership with Siemens Stiftung, Goethe-Institut, Wits Theatre and Kaya FM.

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Media and music in South Sudan

Accueil/Non classé/Media and music in South Sudan

Introduction

The media in South Sudan faces immense social, logistical, economic and political challenges, including press freedom. South Sudan became an independent country in July 2011 under the name Republic of South Sudan, after an overwhelming 98.3% vote in favour of seceding from the Republic of Sudan. After independence, there was a wave of hope of a new dawn. Juba became the centre of business of the world’s youngest nation. The 2005 Comprehensive Peace Agreement opened up operations for the media[i] in South Sudan. To date more than 30 FM radio stations have been set up across the country.

Radio networks funded by churches, community organizations, international NGOs and privately owned media establishments have also been set up and they broadcast in local dialect, English and basic Arabic.  

After five years of operation in Khartoum, the United Nations owned station Radio Miraya permanently relocated to Juba. This marked the genesis of media houses previously stationed in Sudan and Nairobi to embrace the new dawn that opened up South Sudan to the rest of the world. Music became a powerful tool for peace-building in a country that was largely divided.

The music industry in the country is still very young and mostly influenced by different cultures as people return from exile. Unity, development and peace remain the common themes in most song releases. Hip-hop particularly has become the dominant genre in the music repertoire of the country.

Radio

Radio stations are the biggest drivers of the local music industry. Privately owned radio stations include 88.4 City FM, 90.6 Dream FM and 89.0 Capital FM. 101 Radio Miraya and 98.6 Eye Radio often play the popular local music.

Music programmes include The Beat 11am-2pm on 101 Miraya FM and Evening Vibes on 92.3 Classic FM, weekdays from 5pm-9pm. The Beat is hosted by Moro Lokombu on 101 Radio Miraya. The presenter engages listeners through the music request segment, where they get to take control of the playlist by calling in. Also, the station gives room for new artists to submit their music to be played on the programme after scrutiny of the lyrical content. The radio station is owned by the United Nations Mission in South Sudan (UNMISS).

Eye Radio broadcasts cover most of the Central Equatorial, Eastern and Western Equatorial States. The radio station went on air in 2010 and operates 24 hours from its studios in Juba. Eye Radio has demonstrated its commitment to developing the music industry in South Sudan. For instance, in April 2016 Eye Radio partnered with the telecoms company MTN to organize the MTN Eye Radio Music Awards[ii], which celebrated emerging music talents in the country.

The effect of the awards was felt in Gbudwe State as the Minister for Information, Youth, Culture and Sports Natali Sabuni[iii] reportedly ordered all stations to play music from South Sudan after Gbudwe native BBG Musica emerged as the winner in the Best Traditional Music category at the MTN Eye Radio Music Awards.

The radio station has many dedicated music programmes. Top 10 on Eye Radio is a popular music countdown show that airs Sundays 10am to 1pm. An interactive segment dubbed Amplified X gives listeners a more up-close experience, where fans are given a chance to interview a guest artist each Sunday, play their top 5 songs and premiere new songs. The show is capped off with the top 10 songs in South Sudan.

Listeners don’t have to wait all weekend for the countdown. Romzie Sukuma Ramadhan hosts a song request show Mixplay Music, which is on the air daily from 9:30am to 1pm. Midnight Music Shuffle is another show that is dedicated to music on the station. 

City FM (88.4) is a private commercial radio that features a unique blend of hip-hop, R&B, reggae, soul, Afro-beat, country and traditional music from South Sudan and the rest of the world. Country Music is a show that is broadcast every Sunday between 10am and 1pm. On Saturdays listeners are taken on a musical trip on Sounds of Africa, which airs from 3pm to 6pm. For gospel lovers the radio focuses on this kind of music every Sunday in the morning hours. 

Capital FM’s Hit Parade is a music countdown that attempts to bring a global music feel to South Sudan. Thirty songs battle it out for the top spot each week. The countdown is, however, dominated by American pop music. Evening Vibes on 92.3 Classic FM runs weekdays 5pm to 9pm, where listeners request songs.

Print

The focus on music within print media is limited. South Sudan has two daily newspapers, The Citizen and the Juba Monitor. Besides the two publications, there are several other titles that appear weekly or twice a week. Nearly all the print media are published in English.

In early 2012, most South Sudanese newspapers were still printed in Kampala or Nairobi and flown into Juba for distribution. The Citizen became South Sudan’s first daily newspaper when it transferred all its operations from Khartoum to Juba in 2010.

Television

South Sudan has only one television station, the state-run South Sudan TV. The station broadcasts six hours a day in English and Arabic. SSTV hardly has any dedicated music programme.

Online

According to www.internetlivestats.com[iv], internet penetration is at 17.1% within the country. There is gradual growth of online media portals like Hot in Juba, an online tabloid about celebrity gossip and news. Musicians also utilize free music download websites like ReverbNation and Newmp3file to distribute their music freely. Internet cafes in towns are meeting centres for young people looking for new music. Videos, mixtapes and audio files of popular singers are sold on CD or transferred to phones or USB discs. 

Though not reliable, some radio stations like Miraya FM, Capital FM and Eye Radio can be streamed online for audiences outside South Sudan. YouTube is the most reliable source of South Sudanese music and videos. There is use of social media groups, especially on Facebook, that inform fans about new music and the latest celebrity news. However, these channels are not regularly updated.  

Conclusion

It is safe to say that gradually, as the wounds of conflicts heal, South Sudanese music can be one of the richest and the most enjoyed across the world. Almost everyone will identify with it, given the dispersion of the South Sudanese people across the world, which allowed them to be assimilated to different cultures. The music is therefore a mixture of folk and more modern genres like hip-hop.

South Sudan nonetheless has several indigenous media outlets and a host of active journalists in the local music industry.

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