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

Mauritian Seggae

30 Sep 2016 - 12:04

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From Kaya’s roots seggae through to the agga dancehall of Negro Pou La Vi , Seggae embodies what the Mauritian youth stands for. This is an overview of the genre.

Ras Natty Baby, Mauritian Seggae singer. Photo: sakifo.com

What is Seggae?

Before taking a closer look at Seggae, we have to talk about sega music, the traditional music of Mauritius Island that came out of slavery. Sega’s rhythm has some similarities to Salegy, the coastal music of Madagascar.

Sega spread throughout the Mascarene archipelago (Mauritius, Reunion, Rodrigues, Chagos and Agalega Islands) as well as the Seychelles. The afro-descendants or ‘kaffirs’ of Reunion Island also developed the Maloya.

Mauritius Island, once a French then British colony, has been an independent state since 1968. The island was inhabited by 160,000 slaves from Africa and Madagascar.

Sega, initially called Chega, Tsega or Chaga, is originally from Mozambique. The Macondé tribe of Mozambique named a rock, in the southwest of the island, after the Sega. Cassiya, the ‘Mauritian Kassav’ band, tells the history of Sega and slavery through songs.Their song ‘Le Morne’ refers to Le Morne Brabant where runaway slaves took refuge after the abolition of slavery in Mauritius in 1835.

From the traditional ravane, maravane and triangle of Ti Frère’s sega to the electric guitar and brass instruments of Windblows modern sega, this protean music could only merge with reggae music.

Sega was, for a long time, rejected for its sensual nature, as reggae, originating from Jamaican afro-descendants, carried strong political messages. Seggae, a fusion of sega and reggae was created in the late 80s by Kaya.

Kaya’s nickname comes from a song of the Jamaican artist and protester Bob Marley. Kaya sang: “Seggae man to vibrasyon bizin positif seggae man li pou viv so lavi ...” translated into “Seggae man, your vibrations must be positive, Seggae man can live his life."

The Kaya Revolution

On Sunday 21 February, 1999, Joseph Réginald Topize known as Kaya died under police custody, officially from a ‘fractured skull’. On 10 March, a second autopsy revealed that he was a victim of police brutality. Thus Kaya, originally from Roche-Bois, a very modest district of Port Louis, became a role model for the Mauritian youth.

His band, Racine Tatane, put forward by the promoter of concerts Percy Yip Tong, embodied values of unity, nonviolence and cultural blending of the Mauritian people.

Kaya was favourable to the legalization of cannabis, a very sensitive subject in Mauritius Island even today. He was arrested for smoking a marijuana joint on stage during a concert organized by the opposition party in Rose-Hill. Riots followed soon after causing one of the major social upheavals in Mauritius. Berger Agathe, another Seggae singer was shot by the police.

This dark period is called “Black February”. On the day of the funeral, the Mauritian youth gathered to sing one of Kaya’s most beautiful songs: ‘Ras Kouyon’. For Blakkayo, a singer of the new generation: “Kaya was a pioneer. He inspired us in making seggae and reggae music. When he left, we continued the fight."

Today, Seggae singers continue to pay tribute to Kaya. In 2014, the Reggae donn sa festival celebrated the 25th anniversary of seggae at La Nuit du Seggae at a stadium in Roche-Bois, a stadium symbolically named after Kaya.

The Seggae activist Ras Natty Baby

Joseph-Nicolas Emilien alias Ras Natty Baby was born in 1954, in Rodrigues island. The music legend declared that his surname comes from the day he was born, when his fairly tipsy father said: “Look at my baby."

Ras Natty Baby is one of the first reggae singers in Mauritius,where he has been living since 1973. As a child, he imitated popular singers like Mike Brant, Sheila, Marie Laforêt, Cliff Richard, Tom Jones, Nat King Cole, and Frank Sinatra.

In the 1970s, he started singing Reggae: “I began to sing songs of Bob Marley, Peter Tosh, Burning Spear, Bunny Wailer, Abyssinians, and Ethiopians."

Ras Natty Baby was one of the first ones to follow on the heels of Kaya. “In 1990, my new album ‘Nouvelle Vision’ was a hit,” he said. “Seggae gathered steam. We toured in the Indian Ocean islands and in Europe."

Ras Natty Baby also showed this side of paradise through his pro-environmental and political songs: " Mauritius isn’t all about white beaches and casuarina trees. There is wealth but there’s also poverty, despair, suicide, drugs, AIDS. We all need a roof, an education and a littlebit of happiness. Many people don’t have any. So many people are starving."

In 2013, the singer mobilized the population for Diego Garcia with the album Free Diego Garcia. The inhabitants of the atoll of the Chagos archipelago were deported in 1971 for the extension of an American military base.

The Rodska

The singer also created the Rodska, a style stemming from his home country. The Rodska is a fusion with ska: “The Breton François Leguat was the first to colonize Rodrigues Island. The accordion, the quadrille, the polka, the mazurka and Celtic music stayed in Rodrigues and have been ‘rodrigualised’. My album ‘Résurrection’ features Rodska songs namely ‘Rodska waka’, ‘Rodjam vibe’, ‘Protez nou l’ile’, and ‘Musik vs politik’." I try to offer the youth a wide and more varied repertoire.”

The seggae today: OSB crew, Tian Corentin

Tian Corentin, sega and seggae singer, excellent guitarist, and childhood friend of Kaya, is one of the singers from the new generation to emerge in the late 90s. His released the album Seggae Mania. Other popular artists include Monaster, Nas T Black, Negro pou la vi, Ras Minik, Lionkklash.

The “roots” Natir Chamarel band represented the Rastafarian community of Chamarel, a magnificent site, inthe southwest of the island, known for its seven coloured volcanic earth.

Their album ‘Nou natir sa’ released in 2013, exalted a certain ecological consciousness. Other artists like Ottentik Street Brothers (OSB) are influenced by the Jamaican hip-hop, the Ragga.

OSB was created in 1992 in Rose-Hill by Bruno Raya, alias Kool B, joined by the rapper Tikkenzo, the ‘lover boy’ Dagger Killa andBlakkayo.

OSB fought for the Creole identity to be recognized: “Here, everybody speaks Creole. But our administrative documents are in English. Lots of people do not understand English. We fought for Creole language. Now, the news is broadcasted in Creole."

In 2000, Blakkayo released its first album ‘Tchek to life’ on which he criticized the police. In 2003, he released the album ‘Xterminator’ featuring the hit song ‘Laparans’.

Today, Blakkayo sings with his band Solda Kaz bad, releasing a superb eponymous album in 2012.

Bruno Raya released the album ‘Restdeterminé’, featuring his wife Linzy Bacbotte, a famous seggae singer. In 2010, Linzy released a feminist seggae song: ‘Fam exampler’.

There is a new generation of seggae singers. Tiras, from Agalega archipelago, released the clip ‘Rar tann koz li’in2015. In May 2015, Murvin Clélie and his band Prophécy released the 21st century album.

Mr Love and his bandSystem Rare known for the song ‘The hope’, inspired by Caribbean zouk.


References:
Jean-Clément Cangy Le Séga Des origines... à nos jours Editions Makanbo 2012
Michel Vuillermet documentary « Zafair Kaya » -Les films du village/RFO 2000
Interviews were conducted by the author in Mauritius in 2013.

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