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.

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 claire@musicinafrica.net. 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

The live music scene in Malawi

29 May 2015 - 13:08

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By Joseph Mtingwi

This text provides an overview of the live music scene in Malawi. When Malawi gained its independence in 1964, there was no such thing as recording studios - so it was live music that dominated. The country’s first president, Dr Hastings Kamuzu Banda, would invite people of various ages from all over Malawi and musicians had to perform before him and his colleagues. Live music performances were so powerful in the country because there was no single recording studio in the country, so talented musicians were forced into live performances to make a living.

Peter Mawange at the 2013 Lake of Stars festival. Photo: lakeofstars.org

To prove how live music performance has played a major role in the country’s musical history, renowned producer Marvin Hanke, who worked with the Malawi Broadcasting Corporation (MBC) from 1975 to 1999, recalled how tedious the task of recording music once was due to the lack of recording equipment. Veteran musicians such as Wyndham Chechamba, Dr Daniel Kachamba (late), Wambali Mkandawire, Allan Namako, Sir Paul Banda, Lucius Banda, Skeffa Chimoto and Mlaka Maliro, rose to the spotlight largely through live performances because that was the only way to be noticed before the 1990s[i].

It was the South African company Gallo that first came to Malawi to record local artists’ music. Later, other recording studios were established, such as MBC Studios, Studio K, Studio 10, IY Studio and Baptist Media. Today, despite that fact that there are many recording studios in Malawi, live music remains popular in the country. With improved technology, piracy has also risen. Malawian artists have realised that if they are to make a living from their music, live performances are still crucial as they cannot rely on selling their recordings - not unlike the situation in the past.

Malawi has also become quite a popular destination on the international touring circuit, with artists from other countries coming in to perform. Some of the recent big names to have performed in the country include Pop Dogg, a Malawian based in the US, Zambia’s Dalisoul, Nigeria’s Davido and P-Square, and South Africa’s Mafikizolo, Professor, DJ Cleo and Zahara.

Venues

Music is performed at nightclubs, open grounds, restaurants, hotels, warehouses and in streets. Popular live music venues in Blantyre include Moth Club[ii], Doogles Lodge[iii], Motel Paradise[iv], Dorvic Hotel[v], Afro Motel[vi] in Blantyre, Limbe Country Club[vii], Robins Park[viii], Club Mustang Sally[ix], Ozone Refreshment Centre[x] in Machinjiri, Shire Highlands Hotel[xi] and the Malawi College of Medicine[xii].

In the capital of Lilongwe, venues include Club 47[xiii], Waka waka Hotel[xiv] and the Lilongwe golf Club[xv]. In the northern city of Mzuzu, live music can often be heard at the Grand Palace Hotel[xvi], Key Lounge restaurant and bar[xvii] and at Mzuzu University’s Boma Park[xviii].

Elsewhere, in the small town of Balaka, the Zembani Lodge[xix] is owned by musician Lucius Banda.

Festivals

Besides the venues where live music can often be experienced, Malawi is also home to several annual musical festivals. The biggest of these is the Lake of Stars festival, held annually around September or October since 2004 in various locations on the shores of Lake Malawi. This festival features a diverse and exciting line-up of musicians and attracts various sponsors to fund the event. The 2015 edition takes place on 25-27 September[xx]. It is accompanied by another event in Lilongwe known as City Of Stars.

Another major festival is the Blantyre Arts Festival, which focusses not only on music but attracts international and local artists. The festival takes place over three or four days, although its exact dates usually vary. The 2015 edition takes place between 2 and 4 October[xxi].

A smaller, less established event is the Likoma Festival (Li-Fest) on Likoma island over the Easter weekend. It is aimed at promoting tourism to the island district (and the country in general) while providing locals with an opportunity to learn, earn, enjoy and advance their lives. The second edition of the festival takes place on the weekend of 3-5 April 2015[xxii].

The Carlsberg Street Bash is a popular street party. It disappeared for almost 10 years but in 2014 was brought back to streets of Blantyre (31 December), then Lilongwe (25 July) and finally Mzuzu (4 April).

Live Music Promotion

Despite Malawi thriving music scene, unfortunately there are not many promoters in the field of live music. The biggest live music promotion company in the country is Entertainers Promotions, owned by Jai ‘Mr Entertainer’ Banda. Most popular live music shows are organised by them.

Smaller but successful promoters include Nde’feyo Entertainment[xxiii], a label that signs urban musicians. Blantyre-based Myuziki Pusha Entertainment[xxiv], owned by artist Biggie Lu (aka Lumulie Mwamondwe), is also known for organising live shows for upcoming artists, especially at colleges and universities.

Challenges

There are a number of challenges facing the live music scene in Malawi. For starters, the country’s live venues (some of which have been mentioned above) are typically not big enough to accommodate everyone when a popular band is performing. Top artists tend to lose out on income at these venues, as people turn back and go home when they see the venue is full. Another challenge for most Malawian artists is a lack of equipment. There are only a few bands in the country that own proper live equipment, including Black Missionaries Band, Skeffa Chimoto’s Real Sounds, Alleluyah Band, and a few others. When other less established artists take to the stage, one can often hear this problem due to the poor sound quality of their equipment.

Piracy is also hindering the development of live music in Malawi because once someone makes an illegal copy of a certain album, most will prefer to buy this much cheaper pirated version than to go see a live performance, which will cost them more than a CD. Most Malawians are still not used to a lifestyle of going out to have fun, so they would rather stay indoors and watch something on TV rather than going there to experience it live. This is a cultural problem that needs to change if musicians are to maximise earnings from live performances.

There is also serious of lack of support from both the Musicians Association of Malawi[xxv] and the government of Malawi. They do little to promote music in general. For example, combating piracy is generally left to the musicians themselves and you rarely hear these two parties stepping in to intervene.

Despite these setbacks, the live music scene in the country is growing at quite an impressive rate, with a number of artists performing outside the country regularly. For example, the Black Missionaries band have on several occasions performed in the United Kingdom, among other countries. Skeffa Chimoto and the Real Sound Band have also performed outside Malawi on several occasions. Sir Lucius Banda and upcoming artists who are organising live shows in secondary schools, colleges even with no good equipment but you can tell that they have talent to make it big.


[i] This is according in the Malawi Clocks 50 Special Anniversary Celebration magazine, published by the Ministry of Information and Civic Education, pp. 28-31.
[ii] Tel: +265 637076
[iii] Tel: +265 1621128
[vi] Tel: +265 1830 570
[xi] http://www.alexanderhotels.net, Tel: +2651840055/063/359
[xiii] Tel: +265 999314347
[xiv] Tel: +265 888 93 7295

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