Sauti za Busara 2013 Dates Announced
Busara Promotions have unveiled initial details of the highly anticipated dates for the Sauti za Busara music festival’s 10th annual installment, set for 14- 17 February 2013 in the historic Old Fort in Stone Town, Zanzibar.
Sauti za Busara is the annual music event in East Africa and widely known as ‘the friendliest festival on the planet’. This edition will feature 200 musicians: more than twenty groups from East Africa and beyond; acoustic and electric, upcoming and established – all performing 100% live.
The Old Fort will host three nights of non-stop live music, with the main programme continuing Friday through Sunday with performances from 5pm until 1am.
The festival also features African Music Films: documentaries, music videos and live concert footage, all focused on promoting the richness and diversity of African music.
Sauti za Busara will continue to host the Movers & Shakers Networking forum for local and visiting arts professionals. This networking space facilitates discussions, exchange and development of ideas on the creative industries in the East African region and beyond.
It’s not just the festival that puts on a show, the local community is encouraged to take part by hosting Busara Xtra fringe events. These may include traditional ngoma drum and dance, fashion shows, dhow races, open-mic sessions, after-parties and performances of Zanzibar’s oldest Taarab orchestras as arranged by the local community.
Over nine years since Sauti za Busara was founded in 2004, the Festival has welcomed an amazing array of artists, including Samba Mapangala & Orchestra Virunga, Nneka, Natacha Atlas, Didier Awadi, Bassekou Kouyate, Jagwa Music, Tumi & The Volume, Fredy Massamba, Thandiswa, Mlimani Park Orchestra, Culture Musical Club, Orchestra Poly Rythmo and many more. The festival features live music only— no playback
From 1st April 2012 artists can apply to follow in their footsteps by submitting online applications at the Sauti za Busara website. The deadline for completed applications is 31 July 2012. The Festival is looking for both emerging and established artists to participate in a diverse programme. Most important is for the music to be performed 100% live, and that it is clearly connected to Africa.
Artists wishing to apply should visit the Busara Promotions website and complete the online application form at www.busaramusic.org or by using regular post, they can send applications to Busara Promotions, P O Box 3635, Stone Town, Zanzibar, Tanzania. Applications close on 31 July 2012.
Frank Odoi: Loss of a Great Cartoonist
Friends and fellow Cartoonists– Tribute
Compiled by Kimani wa Wanjiru
James Kamawira (Kham)
When did you meet him? I met Frank in the late 80s (89 or 90) during a joint exhibition at the French cultural Centre when I became the editorial cartoonist for the Kenya Times newspaper. I had been fascinated by Frank’s drawings during my childhood in the mid and late 70s in Joe magazine and later in the Men only magazine.
How did you develop your friendship over the years? Since we were in the same field we met often and became very good friends over the years. We became even closer when Maddo (Paul Kelemba), Gado (Godfrey Mwampembwa), Frank and I set up Communicating Artists Limited in 1998. We interacted daily and got even closer.
What is your fondest memory of the friendship that you had with him? During a party he held at his house we got really pasted and I started dancing as I crawled under a plank of wood placed atop two bottles on either side, Frank laughed so hard and announced I was performing the “Famous Kham Show”. It was a hilarious night that I will never forget.
What did you learn from him over the years? I learnt a lot from Frank. He was a non-assuming man, humble and down to earth. We all came to respect him immensely and fondly referred to him as our daddy. He was always willing to help and since he had been in the business longer than any of us he placed his experience at our disposal and I learnt a great deal about cartoons, character creation and presentation.
What is your opinion of his most popular work—Akokhan and Golgoti? The two books are completely out of this world and I have never experienced anything even close to them. The mythical characters in Akokhan are so vividly portrayed that they seem to jump out of the book at you. Once you get hold of Akokhan you cannot put it down until you’re through. Golgoti is as hilarious as anything can get. For me these two books are the greatest classics of our time.
What in your opinion was the most outstanding thing about Frank? His character, so focused and serious about anything he ever did. So meticulous in his work and his humble nature. Seeing him on the street you’d never connect him to the legendary Frank Fran Odoi.
How will you remember him? I will always remember Frank as a very close friend. In fact just before he passed away we were supposed to start work on a project. The project will go on but I regret I will never see Frank pen another line. I also will always feel the void in the project, as I don’t think I will ever get anything even remotely close to Frank’s work. Franks work was unique… those once in a lifetime things, you know.
Leif Packalen, Chairman, World Comics Finland
When did you meet him?: We met first in 1991, when I was trying to find out how to use comics in development communication. We had corresponded about the issue a few months before we met. We hit it off well from the beginning and we started planning different training projects for budding artists in Africa to learn how to make campaign comics for NGOs. Frank visited Finland in 1991 to a world cultural conference and again in 1993 with an African comics and cartoon exhibition at the Arctic Comics Festival in Kemi. I remember how I walked him over the slippery, icy streets in -15 subzero temperatures. This was the first ever exhibition of African Comics and Cartoons in the Nordic countries. Frank came to Finland also in 1997 and 2002 for World Cultural Events and his last visit was in September 2011 to the Helsinki Comics Festival, where he took part in several seminars, had a stage interview and an exhibition.
How did you develop your friendship over the years?: We worked together in Tanzania, Mozambique, South Africa, and Ethiopia, training young artists to make comics for different campaigning purposes. Frank was a role model for many of the participants in the workshops, and shared his skills generously. Our roles were different, I took care of the financing, planning, and reporting, Frank stood for the creative and artistic input.
Our major joint effort was the book “Comics with an attitude…” which was published in 1999 by the Finnish Foreign Ministry. The book is a guide to NGOs all over the world in how to use and produce comics for different educational and awareness campaigns. The book made eight printings and was eventually distributed in 14.000 copies. Frank said many times that the book opened up many doors for him and other comics artists in Africa by showing that comics are useful as a communication tool, not only for making laughs.
We remained close friends even when we did not work on joint projects. When Skype telephoning became available, we had long chats, updating each other on work, family and life matters.
He recently exhibited in your country. What is your memory of this?: We had a retrospect of Frank’s work on display in The Helsinki Comics Festival Exhibition. It was all there, political cartoons, caricatures, comic strips, illustrations and also some splendid originals from the Golgoti and Akokhan albums. When we visited the exhibition, a group of immigrant kids swarmed upon Frank and gave him rock-star treatment. The kids loved to see him drawing with his elegant and swift strokes with a brush and, there it was – a poodle, a bird, a cartoon character. I vividly remember the admiration in the kids and the patience in Frank to draw still another, and another, drawing at their request. The kids were begging him to come back as soon as possible- preferably the next day.
What is your fondest memory of the friendship that you had with him?: Always when we met, we addressed each other Your Excellency! It was a private joke which we kept through the years. We were together usually for a week or so at workshops or seminars and this meant frequent goodbyes.
However, we always parted with the feeling that we will meet again quite soon. This picture I took from my travelling diary, coloured it in Photoshop. It shows Tarmo Koivisto (Finnish colleague and also a friend of Frank) hugging Frank goodbye, with myself watching at left. This was in Dar es Salaam 1996 outside New Happy Hotel in Mnazi Mmoja after finishing a comics workshop for 20 Tanzanian artists in Morogoro. Frank used to frequent New Happy Hotel on his trips to Dar.
Patrick Gathara Cartoonist; General Secretary of the Association of East African Cartoonists
When did you meet him? I met Frank in 2001.
How did you develop your friendship over the years? Frank, despite his great fame, was always a humble and approachable fellow. He was always ready to give advice and to mentor younger cartoonists. One of the first black cartoonists to have his work published in a Kenyan newspaper, drawing for the Daily Nation as far back as 1979, he was a father figure to all Kenyan cartoonists. I loved and deeply admired him.
What is your fondest memory of the friendship that you had with him? Several times, I had the opportunity to accompany Frank and other top cartoonists, Paul Kelemba, Godfrey Mwampembwa and James Khamawira, on tours of various parts of the country. We would meet and talk to young people about using cartoons to avoid or resolve conflict. I remember he was always very engaged and passionate about this. And, of course, he was very funny.
What did you learn from him over the years? I learnt the value of hard work and humility. He also taught me not to take life too seriously and to always be ready to see the funny side of life.
What is your opinion of his most popular work—Akokhan and Golgota? Frank was a genius at creating and breathing life into his characters, always drawing on his extensive knowledge of African folklore to produce riveting narratives. He was unabashedly a citizen of Africa and his work was a celebration of this.
What in your opinion was the most outstanding thing about Frank? His smile and infectious laughter.
How will you remember him? As an outstanding talent and a great friend.
I met Frank at the Kenya National Theater in the heady days of his fellow caricaturists Maddo, Gado, Kham and the late Whissy. Heady days because they were riding the high wave of a newfound love by readers of a bold and daring undertaking…making social and political commentary in days where such activity was deemed to be walking or operating on the edge.
We were young students at the University of Nairobi and Frank and Co. were our natural allies in articulating our silent views, albeit in a hilarious fashion. Odoi’s humor was interesting and stood out because he brought an aspect of his West African culture into his pieces.
He seemed the quieter of the troops but when he opened his mouth to speak he would leave you in stitches. He seemed to listen more and weighed in to speak it seemed after sizing up the argument or discussion. And it was always to make you laugh. We laughed with him and considered him our own. He was accommodated to the country of his sojourn Kenya, married a Kenyan and was comfortable enough to make social commentaries about his adopted country. That is how at home he was with us and us with him. He will be sorely missed and what a way for him to exit…with a bang so to speak.
I am sure if he could draw one last piece it would be to say something like…”Araaagh!…, who did this to me and do they not know people?” I hope he has danced properly to the drumming of the ancestors who summoned him! He drew the line and left!
Africa’s Hergé Takes A Bow
by Paul Kelemba (Maddo)
Frank was probably Africa’s Hergé, Urdezo or the Marvel Comics team all rolled into one. Very few artists on the continent have established themselves so supremely as producers of comic stories. He brought his characters to life – on lifeless, inanimate, white paper. Such was their impact that as one followed the epic battles of Akokhan and Tonka-zan, one would easily imagine it was a movie.
Frank came to Kenya at the start of the 1980s and quickly established himself in the print media, joining hands with the daddy of Kenyan cartoons, Terry Hirst, contributing to the premier illustrated humour magazine Joe. He later inherited Terry’s perch at the Daily Nation as editorial cartoonist while spreading his comic series to the then amazingly bold magazine known as Men Only. This is where I met Frank in 1984.
I had followed his work from 1981 and, as a young, struggling cartoonist, was obviously so thrilled to get to meet him at last. He was doing a new comic story titled The Male Syndrome, a satirical look at men, while I produced some illustrations and a comic strip for Men Only, both of us under the watchful eye of its unorthodox editor “Mambo Gichuki” Brian Tetley. We struck a firm bond immediately that was to last until last week, Saturday 21 April, at about 9.30pm on Jogoo Road.
Frank a remarkable soul – quick, intelligent, witty, a debater with a firm grasp on world affairs, both culturally and politically. I loved the nights we’d engage over a bottle of lager; we fought, laughed, hugged and dreamt of a better Africa.
Over the years, we tried our hand at several publications. We produced the short-lived African Illustrated in 1997 along with Gado (of the Daily Nation) and Kham (The Standard), and several Nairobi cartoonists, illustrators, photographers and writers of the time. The monthly saw only three issues before folding up in a hostile publishing environment. Not quitters, our next bold publication was Penknife Weekly (it was actually a bi-weekly!) in 2002 which for a year survived the high mortality rate of magazines in Kenya before falling victim to uncooperative advertisers and political ill-will.
But Frank pushed his comics for publication and has several titles locally and abroad. He lived comics. Dreamt comics. His well known series Akokhan has run at The Standard and Daily Nation and was currently being published by The Star. The story – the unending rivalry of Akokhan and his nemesis Tonkazan, has a special audience; I know so many people who’d go sick whenever the series took a break. It is spellbinding as the reader follows the battle between good and evil… “more than just a comic story”. The first book collection was published in Finnish – in Finland of course – while its English version was successfully launched in Nairobi by Kenway Publications.
Other compilations include Golgoti whose title is derived from Ghana’s old colonial name of Gold Coast. Surprisingly, Frank told me that the corruption was not from West Africa but rather Nyeri in Kenya where he met an old man who, when told Frank was Ghanaian, remarked, “we used to call that country Gologoti…”
Frank was born in the fishing district of Accra in 1948 to peasant parents, the only boy amongst several sisters. He lost his father at a tender age and was mostly raised by his mother. Rejected by the military for being underage after elementary school, Frank developed the determination, with an unshakable passion, to make a mark. With that, he entered The Ghanatta School of Fine Arts and Design (so named from a man who was a great admirer of Jomo Kenyatta). He started off as a scientific illustrator at medical facilities before launching his career as a cartoonist in Accra before ending up in Nairobi.
Frank’s work has also variously appeared over the past two decades in a host of publications such as the defunct Kenya Times, Population Education (PopEd) magazine published by the UNFPA Kenya Office, Ugandan Monitor, New Vision of Uganda, Daily Graphic of Ghana, Noticias of Mozambique, Dejembe Dapanda of Denmark, HelsingenSanomat in Finland and BBC’s Focus on Africa magazine. His exhibitions have been viewed across East and West Africa and most of Europe. He was a member of World Comics headquartered in Finland and chair of the East African association of Cartoonists (Katuni).
One of my greatest regrets as we all absorb the impact of Frank’s departure, is that he has not lived to see the animated Akokhan which is in the initial stages of production planning at Buni Limited – the XYZ Show production company. Buni is a sister company to 4D Innovative where he shared directorship with Gado, Kham and I. It is also pretty unnerving that Frank was lost in a reckless road accident after campaigning for better driving attitudes especially in his 1990s strip Driving Me Crazy. He will also never see the foreword that he wrote for my own forthcoming collection.
Frank was a family man and met his death while headed home to the love of his life; his beautiful daughters, Francesca and Francine, and their mum Carol. They waited that fateful night but he never came. His phone had gone dead. Carol worked her phone that night as we assured her Frank would turn up even if he wasn’t a late comer. The next day morning, a drab, grey Sunday, we gathered enough guts to check all Nairobi hospitals. Nothing. Then Gado and I found Frank on Monday morning. Nothing had prepared us for the shock of seeing the lifeless body of the man we have shared an office with for over ten years. A sheer waste of specialised talent and a loving husband and dad. Frank was 64.
Opportunity from La MaMa Umbria for Theatre Practitioners
La MaMa Umbria Announces Artists for International Theatre Workshops in Italy
Directors, Actors, Playwrights, Composers and Theatre-Makers from Iraq, Japan, Italy and the United States offer personal insights into theatre-making at La MaMa Umbria in July / August, 2012. This year’s emphasis is on Collaboration amongst artists in the theatre and other disciplines.
Among the renowned theatre practitioners who will participate are: Elizabeth Swados, Neil LaBute, Mac Wellman, Yoji Sakate, Stephan Koplowitz, Kwesi Johnson, Melanie Joseph, John Moran among many others.
Workshops range from Site-Specific Performance, Meyerhold Technique, Using Noh with Modern Texts and The Actor/Playwright Collaboration to Creating Theatre Through Music, Pataphysics of Performance and Approaching The Tempest.
All participants live and work at La MaMa Umbria International, Founder Ellen Stewart’s 15th century arts complex in the Umbrian hills near Spoleto. La MaMa Umbria includes a rehearsal studio, an outdoor stage, gallery space, a café and other unique spaces. Fresh, delicious food comes from the garden and many meals are cooked in a 500 year-old stone oven.
La MaMa Umbria offers 4 distinct programs in 2012 including International Symposium for Directors/Theatre-makers, Playwright Retreat, Master Acting Workshops and Residencies. Most workshops include visits to areas of local culture including Assisi, Perugia, Orvieto or other ancient towns and performances at summer festivals and community events.
The deadline for Registration/Application for the various programs is May 15, 2012 (except Residencies). Detailed information and Registration/Application Forms can be found at http://lamama.org/programs/la-mama-umbria-international/. For more information, call (212) 620-0703 or (212) 254-6468 .
Deborah Asiimwe
Specialist-Sundance Institute East Africa
Tel: 1-646-822-9567
180 Varick Street, Suite 1330
New York, New York 10014
In Mali, the Kora is no one-night stand, it requires commitment
Djelimadi Diabaté intimately closes his eyes as he strums on the Kora
during a performance at the San Toro restaurant in Bamako.
… the soul-consuming sound of this 21-stringed instrument is sensual and not cerebral
First, the heat. Visiting from the far much cooler city of Lusaka, you realise how hot it is the minute your plane touches down. When sweat starts trickling down the groove of your back, you realise wearing black high-top basketball sneakers, a pair of jeans and a leather jacket was a grave mistake. You are in the Sahel, the place where the Sahara Desert in the north meets the northern most savannahs.
The beverages; luckily as hot as it is, almost at every stall or turn you find huge bottles of fresh, home-made gem-gem ginger juice and hibiscus, to cool you off. And there is just something about this non-alcoholic beverage that gives you a feeling that it has medicinal properties. Besides ginger and hibiscus is tea, which on the one hand is served scorchingly hot in small glasses. As it turns out, the people of this ancient land with a supreme cultural history have been drinking this beverage long before the Englishman embraced it in the 1600s as a symbol of refinement, to be sipped with cucumber sandwiches at four o’clock. Nevertheless, before we sidetrack, let us tick the next item off our short list.
The women; make of it what you will, but it truly is a spectacle that needs some getting used to, to see the women of Bamako pull up their long boubou [chitenge] robes to spread their legs across tiny motorcycles on which they zip through the chaotic traffic at mind-numbing speeds worthy of BBC Top Gear’s Jeremy Clarkson himself. And they do it without the protection of a helmet. Instead, they wear matching headscarves that despite the speed, do not fall off. It is only our next item that can rival the spectacle of these fascinating women.
“There are many types of instruments in our music, although the Kora has been the most popular for a long time. Another popular one is a smaller guitar-like instrument called the ingoni and they are usually played side by side,” explains Igo. “But the Kora is like a wife, that’s why after many years of experience there is even a real marriage ceremony between the player and his instrument, especially when you attain a certain level. This is because it is the only instrument in the world that is held directly in front of you and caressed like a woman.”
To back Igo’s zany revelation of the matrimonial attachment between the instrument and its player, you have to hear and see the instrument being played live to appreciate and understand why for an artiste, the Kora is not a one night-stand partner. It is one that requires commitment. The soul-consuming sound of this 21-stringed instrument is sensual and not cerebral.
Igo Diarra a Malian music producer, radio personality, author and all round cultural operator introduces members of the Ensemble Instrumentale Nationale Du Mali playing the Ingoni (l) and the Kora at the Palais de la culture in Bamako
“But like I said, the instruments are many,” he says. “There is also the balaphon [called marimba in southern Africa or xylophone in the global West]. So basically it is the kora, the ngoni and the balaphone that are the three indispensable melody instruments of the ‘Manding griot’. For instance, [the late] Ali Fakar Touré played guitar, as does Habib Koite. Toumani Diabaté is the king of kora, Bassekou Kouyaté is the king of ingoni and all these are well known international artistes.”
Igo further explains that Ali Farka Touré and Toumani Diabaté’s 2005 album In the Heart of the Moon with Farka Touré on guitar and Diabaté on kora was nominated for the Album of the Year Award in the BBC Radio 3 Awards for World Music the following year, but lost out to Dimanche à Bamako by another Malian duo Amadou and Mariam. However the album won the Best Traditional World Album at the 48th Annual Grammy Awards in the same year.
“Nick Gold from World Circuit signed the contract with Toumani right here in my office. This too helped open up the rest of the world to the music of Mali. As you might know, Nick was the producer for The Buenna Vista Social Club from Cuba. He helped bring them to the world stage as well,” adds Igo.
He continues to highlight how diverse the music is, where it is coming from and how seamlessly it blends with 21st Century music styles and trends.
“Mali music is very diverse, it has so many different sounds. If you go to the north, there is Toureg music, like Tinariwen a desert blues band in Segou. There is a different style.”
Homemade hybiscus (l) and ginger juice served with cakes made from rice
flour are popular
“We are a very old culture. Preserving heritage is a way of life. Mali music is traditional but it’s very international. People come from all over the world to sample our music and also to collaborate,” adds the part-time open air concert organiser who also runs a library for underprivileged children.
Speaking of which, Igo’s passion for collecting children’s books to create a library should not come as a surprise. For the people of Mali, as much as they had the griots to disseminate oral tradition, close to one million ancient documents known as the Timbuktu Manuscripts, ranging from scholarly works to short letters have been preserved by private households in Timbuktu, north of Bamako with the earliest dating back to the 13th Century. Which is somewhat ironic seeing in the past Africa carried the insulting accolade of “the dark continent”, owing to a supposed ignorance.
Igo talks of the collaborations with foreign artistes. “At Balanise my production company, I am doing this project called Roots To Roots where we are collaborating with hip-hop and ragga artistes from the UK. We mix rap with the Kora.”
Igo insists that although Malian musicians make it big globally, they never leave their country to settle in Europe. He believes this too has helped the sound maintain a certain richness through a sort of incubative process.
“If you leave Mali and settle in Europe you lose the vibe. Some say the music of Mali is inspired by the flow of the Niger. Right now with the technology you don’t have to go to Europe – maybe just for some last minute mixing, that’s all. But it can be done here. Be reminded, however, that Igo is also a radio presenter who is more used to interviewing than being interviewed so it is perfectly reasonable that at the close of the interview, he turned the tables and asked a question.
Ladies with a bit more money can afford motorcycles and can be seen cruising on the streets of Bamako at high speeds with no helmets
Zambian music? Zambian sound? Is there even such a thing as a Zambian sound? How does one answer such a question? This is the stuff of fierce pub debate.
Of course, Zambian music today is enjoying an unprecedented vibrancy, which is at an all time high. In backyard studios, a new digitally enhanced song is released every hour and is well received and consumed by a voracious audience, which cannot seem to get enough.
But as for a “sound”, there really is no “Zambian sound”. All of it is hip-hop, Jamaican-influenced dancehall, reggae, R&B and [like it or not] Congolese Rhumba. The only thing Zambian about it are the languages in which it is sang. Much of it is produced fast and cheap at the expense of quality. To be realistic, even a lot of what passes for contemporary Zambian music contains explicit lyrics that seem to focus on sex and the demeaning of women, albeit with such an ingenious use of innuendo and metaphor that you will find yourself singing along before you realise how nonsensical they are. In this regard, the artistes are outdoing themselves and becoming better at it by the day.
If you have ever wondered, although most will be shy to admit, there is an entire generation of Zambian musicians that was consumed in the rapture of the first wave of the HIV/AIDS pandemic in the late 80s and early 90s which leaves your average Zambian musician [or should we say singer] aged between 18 and 35. Not to say there are no artistes older than this, but there are too few, and too retired for lack of a better term to be of much significance.
But for all that, this is not an article on Zambian music, a subject that deserves a dissertation of academic proportions. Returning to Mali, of course there is much more to the city of Bamako than our short list of blistering heat, beverages, women and music.
Often a traveller only sees what he or she wants to see. For what one writes too, the same argument holds. Even for Mali you could write about your experience in a luxurious, air conditioned hotel room with a scenic view of the unadulterated Niger River or how you washed down a plate of Poissons de Capitain [tilapia kebabs] with a bone-dry bottle of imported Sauvignon Blanc. Or you could write about rundown buses on the roads of Bamako. But aren’t there such buses all over the African continent?
OiLibya petrol stations and Libya Hotels are well distributed across the
city of Bamako, suggesting a strong presence of Libyan economic muscle in that country. OiLibya is managed by the Libyan Investment Authority, and manages Libya’s assets in 21 countries across Africa.
Mali is ranked in the top half of the Mo Ibrahim Index on Governance in Africa and shares second spot for the best media freedom in Africa. But for yours truly, writing on the blistering heat, beverages, women and music will suffice.
Cultural Leadership Training for Southern Africa
The first of five regional Training Hubs for arts and culture on the continent will be launched in Johannesburg during May.
An initiative of the African Arts Institute in partnership with the Goethe-Institut and others, the Southern African Training Hub will host a three-year training programme in Cultural Leadership, Governance and Entrepreneurship. It will host candidates from Angola, Botswana, Lesotho, Madagascar, Malawi, Mozambique, Namibia, South Africa, Swaziland and Zimbabwe.
Similar training hubs will be established in Morocco, serving 6 North Africa countries; in Senegal, serving 15 West African countries; in Cameroon, serving 9 Central African countries; and in Kenya, serving 13 East African countries.
Southern African candidates can now apply to participate in training at the Johannesburg hub which will be based at the Goethe-Institut. From 13 to 19 May, Train-the-Trainer sessions focusing on Cultural Leadership and covering Arts Advocacy, Marketing, Fundraising and Project Management, will be presented there.
Training will be facilitated using a series of toolkits on these subjects, developed by Arterial Network (AN) in 2011. AN is a continental network of arts professionals with representation in 34 African countries. The programme is aimed at training trainers in the use of these toolkits; and for these trainers to return to their respective countries and/or organisations, to train others.
The course is limited to 20 applicants. Ten bursaries will be provided.
Applications should include the following:
- A typed letter of motivation highlighting previous experience as a trainer and a commitment to working as a trainer;
- Information pertaining to and elaborating on practical experience in at least one training area, advocacy, marketing, fundraising or project management ;
- Three reference letters applicable to your training experience ; and
- A clear indication of whether you are applying for a bursary, with a brief motivation.
Note that Arterial Network membership would be an advantage. The cost is ZAR 1500 or EURO 150.
Applications must be received by 13 April 2012, at the following email address info@afai.org.za. Successful applicants will be notified by 20 April 2012.
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![The altar[instalation of vessels]](http://farm7.staticflickr.com/6180/6240172210_343ac31e94_t.jpg "The altar[instalation of vessels]")
