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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The death throes of Mabala Noise

Accueil/Non classé/The death throes of Mabala Noise

The demise of the company was seen as imminent by some. Many of the artists signed to the label had the foresight to leave before being caught in the destruction of an almost prestigious organisation.

« I am not selling [the company] but will put shares among people who have been running the business for me,” Nkabinde told the Sowetan, adding that artists signed to the label would not be affected by his departure.

It was reported that the ANC Youth League (ANCYL) treasurer had already stepped down from his position as CEO at Mabala Noise in January. The Sowetan said Nkabinde did not announce his departure until he was sure that the record label was left in capable hands.

Biggest artist defects

Rapper Nasty C, who was the crown jewel of the label, absconded in January to join Universal Music Group. Mabala Noise denied that Nasty C had left, with spokesperson Tumi Moatshe claiming that the ‘Hell Naw’ hitmaker had only signed a distribution deal with the major label. The statement was contradicted by former label manager and new Mabala Noise boss Sikhulule Nzuza, who confirmed that Nasty C had left the stable.

“At Mabala Noise, our goal as a local label is to position our artists for global success,” Nzuza said. “It has always been my dream that African artists make it to the global marketplace. This transition to Universal Music will set the stage for Nasty C to command international attention.”

The varying statements that were made in a space of a few days point to a company in disarray.

Rise and fall

Mabala Noise was founded by Nkabinde and DJ Bongz in 2008. Originally known as Emabalabala, the company became fully functional in 2016. Its concept was groundbreaking in that it made it its mission to sign and invest young South African acts, much like the vision and mandate of the ANCYL. It must have been so alluring that Nasty C is rumoured to have turned down a deal with American rap mogul Jay-Z’s label Roc Nation.

Mabala Noise signed every man jack, including TV personalities such as Khanyi Mbau, Kay Sibiya, Letoya Makhene and Mbali Nkosi. Artists on the Mabala Noise roster included DJ Finzo, Du Boiz, Major League DJz, Gigi Lamayne, Pro, Zakwe, L’vovo Derrango and Zola.

The stable became the talk of the village when rapper Riky Rick was signed in June 2016. Eight months later, the ‘Sidlukotini’ rapper dumped Mabala Noise when he accused its boss of buying awards. This after Mabala Noise artists were nominated in eight categories at the 2017 Metro FM Music Awards. They won all eight in what has been alleged as major interference in the voting process.

“After a long prayer and conversation with God, I am no longer part of @Mabala_Noise. Blessings to everyone there. Thank you for the love,” the rapper said on Twitter in March 2017.

But Mabala Noise disputed the claim and said the rapper was bound by contract. “I don’t know what Riky Rick is saying on social media, that’s his own thing,” former Mabala Noise spokesperson Mhlo Gumede said in a statement. “We have a long-standing contract with Riky Rick still in place. He is still very much part of Mabala Noise,”

It was rumoured that Riky Rick would have to pay back an advance of about R12m ($1m). He eventually left the label and signed to DJ Black Coffee’s Soulistic Music.

More artists leave

Other artists who left the label include Mroza who became famous for the song ‘Van Damme’ in 2016. The maskandi singer won the SABC Summer Song 2016 but left Mabala Noise soon after because he felt that he was not given the attention he deserved.

Co-founder DJ Bongz also left to start his own company, Gwara Gwara Entertainment, but he said there was no bad blood between him and Nkabinde. Joining the exodus was talented rapper Gigi Lamayne who left the label in December for Ambitiouz Entertainment.

And in January 2018 Nkabinde followed suit to concentrate on a campaign to become ANCYL president. At the time of his departure he said he would leave the company to a competent successor, but now it seems that things are falling apart. When Music In Africa tried to contact the label, the phones rang to no avail. In addition, the label’s website has not been updated for months, with Nasty C’s photo still lingering on its pages.

However, Mabala Nosie artist Du Boiz has claimed the label is still operating as normal. “As far as I know, I am still recording music in studio under Mabala Noise,” the Durban-born rapper said last week. “I’ve noted speculation from the public about its shutting down but I still perform and get paid so I cannot comment on executive decisions made by my bosses.”

Allegations of corruption and money laundering

Economic Freedom Fighters leader Julius Malema alleged in 2016 that Nkabinde had siphoned money from the Department of Water and Sanitation to finance his artists who he claimed were signed mainly to perform at party events. He also claimed that Nkabinde had sexual relations with Minister of Water and Sanitation Nomvula Mokonyane, who had funded the label through her department. Malema also questioned how Nkabinde was able to give R5m ($430 000) to each artist he signed.

Even if Mabala Noise continues with operations in the future, it’s almost certain that the label will be a pale imitation of its former self. The money seems to have left, and if it were true that departmental funds were pumped into the label, the noise around allegations of money laundering would have been enough to halt such activities. It’s even possible that Nkabinde’s exit from the label could have been set off by the rumours.

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