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

Popular music in Mauritius

24 Jan 2017 - 18:12

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In Mauritius, international and Bollywood hits cohabit with sega, seggae and other variants of the local music.

Désiré François and the group Cassiya. Photo: ipreunion.com

Disque de l’année competition

The Disque de l’année (Record of the year) competition, where the winner is announced as the clock strikes midnight on the 31st December, has been part of the folklore since the 1980s. This is through the initiative of the national Radio and Television, the Mauritius Broadcasting Corporation

Many Mauritians tune to the four radio stations of the country which unveil the titles selected as "Song of the year" by the listeners. The contest is awarded in three distinct categories: International, local and Bollywood, which highlights the musical preferences of Mauritians.

‘Lean on me’, ‘Di Pain Griye’ and ‘Baaton Ko Teri’

Mauritians move to different rhythms, from the latest international hit to sega and commercial Bollywood hits. Hence, on Top FM in 2015, ‘Lean on me’ of Major Lazer and Dj Snake was selected as best international song and ‘Baaton KB Teri‘, from the movie ‘All is well’, was selected in the Bollywood category.

The local electro track ‘Friends’, a collaboration between the singer Laura Beg and DJ Jimmy Gassel, won the grand title.

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On Radio One and Radio Plus, sega prevailed with Désiré François and the group Cassiya with the song ‘Di Pain Griye’. One of the great revelations of the year was the Creole reggae song ‘Sirmonte’ of The Prophecy.

Mauritius, by being exposed to major international trends through media and Internet, remains particularly sensitive to the latest international hits.

At the end of August 2016, the weekly ranking of Radio One indicated that the auditors’ favourite songs were: ‘Aloha Møme’ of Ft. Merynn Jeann, ‘Company’ of Justin Bieber, ‘Perfect strangers’ of Jonas Blue Ft. JP Cooper and ‘Laisse-Les Kouma’ of Zaho F.

20 years ago, the archives of the magazine Scope mentionned local preferences as the following: ‘Noire La Rivière Noire’ of Ravanne Sans Frontières in the local category and ‘Wanna Be’ of the Spice Girls in the international category.

Seggae

Mauritians prefer popular music to other musical genres. Rock, blues and jazz have a more elitist following evidenced by the concerts and festivals around these genres that are often hosted in private venues restricted to the public.

Classical music taught at the music conservatory is also deemed elitist like the genres above, and it is therefore not popular with the general public. As for techno and electro, they remain very present in nightclubs and are favoured by a younger audience.

Reggae has deeply marked a generation. Bob Marley, Alpha Blondy and Tiken Jah Fakoly are very popular in Mauritius.

A new genre, seggae (a fusion of reggae and sega), emerged in the 1990s, with Kaya and Ras Natty Baby. The genre has had a real cultural and social impact in the country and has paved the way to new experimental music with groups like the Otentikk Street Brothers.

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Revalorization of typical sega

Mauritian sega has been recognized by the UNESCO. This traditional Mauritian music was built around the ravanne (instrument), and has evolved with artists like Abaim, Lespri Ravann, Menwar, amongst others.

Mauritian sega has been evolving since the 1980s, through a faster tempo and the introduction of instruments like the guitar, drums, keyboards, etc.

In the 1990s, the group Cassiya brought a new sound to traditional sega. They have been touring the Indian Ocean, Africa and Europe.

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20 years later, their song ‘Di Pain Griye’ has had a resounding success.

Colonized by France and then by England before gaining independence, Mauritius inherited the French and English musical tastes. English and French songs are very present in the musical landscape. The connoisseurs are still clinging to the great classics whether it is Piaf, Brel or Moustaki while the new generation are familiar with the repertoire of emerging French singers.

A few months ago, the French artist Louane performed at a sold out show as part of her tour promoting her latest album Chambre 12. There was a lot of enthusiasm around concerts given by Kendji Girac, Calogero and Francis Cabrel who performed for the fifth time in Mauritius in 2016.

In 2016, the concerts of Frédéric François, Alain Souchon and Laurent Voulzy were major events in Mauritius.

Bollywood footprints

In August 2016, the Bollywood rising star, Palak Muchhal, known for hits like ‘Prem Ratan Dhan Payo’, ‘Chahun Main Ya Naa’’, Dekha Hazaro Dafaa’’, JabTum Chaho’ or ‘Teri Meri Kahaan’, performed at a sold out concert. These Hindustani songs feature on the soundtrack of famous Bollywood movies and are popular in Mauritius where the Indian culture is intrinsically linked to that of Mauritians.

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Taught in cultural centres, traditional oriental music is quite popular but not as much as Bollywood soundtracks. Playback singers like Sunidhi Chauhan or the trio Shankar-Eshaan-Loy are popular in Bollywood and their concerts are generally sold out shows.

After the concert of Francis Cabrel, Shafqat Amanat Ali, son of the legendary Pakistani singer Ustad Amanat Ali Khan, performed in Mauritius singing some of his songs that have earned him several awards in India.

New genres have emerged in Mauritius over the past few years. Mauritian music is the bridge between the continents where traditional instruments meet African and Asian instruments.


Source:

Cultural Magazine Scope: http://www.lemauricien.com/scope

Radio One: http://www.r1.mu/

MBC (Mauritius Broadcasting Corporation): http://mbc.intnet.mu/

Top FM: www.topfmradio.com/

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