Chengetai was born in Harare, Zimbabwe, in 1982. She has been singing and composing songs since her childhood. Having moved to Johannesburg in 2002, on invitation from records company, Balasonic Records, she did co-produce three albums, both in Shona and English, exploring the diversity of the Southern-African scene, and collaborating with other artists as Selealo Selota, Louis Mhlanga, Samson Mtukudzi and the list goes on… In 2008, she moved to Paris, France, where she is presently living and working, getting busy touring the World with her “Rainbow Music”…

Her music is definitely a “rainbow”, so colourful and rich. She combines perfectly English, French and Shona, but, we as the audience, don’t lose the connection to her. She plays with colours to communicate diverse messages through her songs. For example, her lyrics turn into “yellow” for happiness, “pink” for social injustices, or “blue” for romantic feelings. However, what we liked most is the power of her voice. Sometimes she sounds so sweet, while other times she sounds angry and independent enough to say “no” to the one she loves with conviction.

Generally speaking, she feels really comfortable when performing in different musical styles including r&b, jazz, soul… but sometimes her voice doesn’t sound as good as when she performs soul songs. I might say that in this case the connection is deeper and the songs are pretty captivating.

If you want to discover this young artist go to

http://www.myspace.com/chengetaionmyspacemusic

Don’t hesitate to leave your comments and share your opinions about your favourite music artists!

Peace up!

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C’est officiel : la Fédération algérienne, réunie dimanche en Bureau fédéral, a décidé de maintenir Raabah Saâdane (64 ans) au poste de sélectionneur de l’équipe nationale. Cette décision, attendue, a été prise malgré l’échec des Fennecs lors de la phase finale de la Coupe du monde, à l’issue de laquelle ils ont été classés 28-èmes des 32 nations participantes. « Au-delà des résultats techniques chiffrés qui semblent insuffisants et du sentiment que le parcours aurait pu être meilleur, les prestations de l’équipe peuvent êtres considérées comme honorables et sont prometteuses au vu du potentiel de la sélection et de sa marge de progression. La stabilité, étant la condition sine-qua non pour tout progrès, le Bureau Fédéral de la FAF décide de reconduire M. Rabah Saâdane comme sélectionneur de l’équipe nationale A », a communiqué l’instance dirigée par Mohamed Raouraoua.

L’objectif prioritaire assigné au Cheikh consistera à qualifier les Fennecs pour la CAN Orange 2012 (Guinée Equatoriale/ Gabon). Rabah Saâdane conservera ses deux techniciens assistants, Djelloul Zohir et Hacene Belahdji. Les contrats du trio ont été prorogés pour la même période et dans les mêmes conditions. Mais, comme le président de la FAF l’avait laissé entendre, « il a été décidé, d’un commun accord, de renforcer le staff technique national par des techniciens de haut niveau et de mieux structurer la gestion de l’EN, notamment, par la nomination d’un entraîneur national adjoint et d’un manager général de l’équipe. » Les noms de Moussa Saïb, Fouad Bouali et Abdenour Kaoua sont parmi ceux qui reviennent avec le plus d’insistance.

Le tout nouveau ministre sénégalais des Sports, s’est prononcé lundi à Thiès (ouest) en faveur de la création d’une académie pour relancer le sport sénégalais en général et particulièrement le football, lors d’un séminaire de perfectionnement destiné aux entraîneurs de football amateur.

Spain’s late goal by Andres Iniesta came in the 118th minute, just when it looked as if the game was going to end up in a penalty shoot-out, setting the stage for one of the most dramatic finished of the worldcup.

Spain’s win completed an incredible winning streak for the German-based Paul the Octopus, who has so far correctly predicted eight successive victories in the tournament.

The match remained at a barren-draw all through regular time, and with just four minutes of extra-time remaining, Iniesta took a crossing pass from Arsenal’s Cesc Fabregas and blasted it past the Dutch goalkeeper Maarten Stekelenburg and into the net.

It is the first time a European team has won the World Cup when the tournament was played outside of Europe and the third time the Netherlands has lost in the final. Both the Dutch and Spain were going for a first-ever WorldCup win.

Spain had commenced the WorldCup as tournament co-favourites with Brazil and maintained second position in the FIFA rankings when the tournament began. After a surprise loss in their opening game to Switzerland, Spain found later regained form and finished the opening round with wins over Honduras and Chile to finish first in Group H.

Spain had earlier dominated possession and looked to have control over an insecure Dutch defense. Ramos almost put Spain in the lead after four minutes but his header was intercepted by Netherlands custodian Maarten Stekelenburg.

The match was an ill-tempered clash, which yielded a record 14 yellow cards. The Netherlands was reduced to 10-men in the 109th minute when John Heitinga was given his second yellow card of the match.

Netherlands star Arjen Robben had a couple of scoring chances in the second half. In the 62nd minute, he was sent in by Wesley Sneijder’s pass, only to see his shot strike the boot of diving Spain goalkeeper Iker Casillas. In the 82nd minute, Robben blazed past defender Carles Puyol and again had only the keeper to beat, but Casillas came out to help smother the play.

Fabregas replaced Alonso in the 87th minute and immediately sprung into action after picking an Iniesta pass, but the Arsenal lad couldn’t find a way beyond Stekelenberg, who saved the shot brilliantly with his legs.

The teams played to a 0-0 draw for the first 90 minutes setting the stage for an over-time extension for the second straight World Cup final. Spain failed to capitalize in the extra session with Cesc Fabregras breaking in Stekelenburg, but his shot was turned away.

The game was incoherent in normal time due to physical play by both teams resulting in a host of fouls which nearly ground the game to a halt. English referee Howard Webb worked over-time, issuing five yellow cards in the first 28 minutes. Robin Van Persie, Mark Van Bommel and Nigel De Jong of the Netherlands and Carlos Puyol and Ramos of Spain were all handed yellows.

The yellow card fever proceeded way into the second half with Heitinga, Van Bronckhorst, Robben, Gregory Van der Wiel and Joris Mathijsen seeing yellow for the Dutch, who earned nine yellow cards plus and Joan Capdevila, Iniesta and Xavi picking up cards for Spain. Iniesta earned his card due to prolonged goal celebration.

Dazzling fireworks lit up the Jhanesburg Soccer City Stadium as images were beamed of celebrations in Spaun. An estimated 300,000 soccer fans clad in Spain’s official red and yellow colors, gathered to watch the match live on giant TV screens in Madrid’s downtown Paseo de Recoletos boulevard.

In attendance was African icon and former South African president Nelson Mandela who was accompanied by his wife Graca Machel, which complemented an exciting end to Africa’s first-ever WorldCup. The crowd at the Soccer City stadium in Soweto welcomed Nelson Mandela with a mixture of cheers and vuvuzela blasts, screaming and shouting his name.

Le jeu
Comme on pouvait s’y attendre, cette finale a donné lieu à un match copie conforme de celui de l’Espagne contre l’Allemagne (1-0) au tour précédent. A savoir une domination territoriale et très nette de la part d’Espagnols pressant tout de suite très haut l’équipe des Pays-Bas pour l’empêcher de ressortir correctement les ballons. Et comme face aux Allemands, cela a payé, les joueurs de Del Bosque récupérant énormément de ballons et la plupart très rapidement. Une possession à sens unique qui a beaucoup énervé les Néerlandais, très généreux en mauvais coups. Mais l’Espagne ne s’est jamais laissée perturber par ces tentatives d’intimidation à répétition. Les champions du monde 2010 n’ont jamais non plus perdu patience. Incapables durant longtemps de créer le danger, les Espagnols auraient pourtant pu finir par perdre espoir. Mais la fatigue, de plus en plus présente côté néerlandais, assortie durant la prolongation de l’expulsion d’Heitinga, a offert à la Furia Roja les espaces dont elle avait besoin pour débloquer cette partie très longtemps verrouillée par la défense des Oranjes. Et il n’a fallu qu’une seule occasion à Iniesta pour porter son équipe sur le toit du Monde.

Les joueurs

Iker CASILLAS (7) : Mis en confiance par ses premières prises de balle, il s’est fait peur sur un ballon rendu par les Néerlandais. Il sauve son camp du pied droit face à Robben dans un face à face sur lequel il a tout de même eu beaucoup de chance puisqu’il avait été pris à contre-pied par la frappe de l’attaquant du Bayern Munich avant de laisser traîner la jambe (62eme).

Sergio RAMOS (5) : Constamment rivé vers l’offensive, il s’est une nouvelle fois illustré davantage dans le rôle d’ailier que de défenseur pur. Averti pour jeu dur (23eme), il a eu deux énormes occasions de débloquer la situation. Sur la seconde, il manque incroyablement le but ouvert devant lui (78eme).

Gerard PIQUE (5) : Très solide derrière, il n’a été surpris qu’une seule fois. Dans son dos par Robben. Mais cela a bien failli coûter très cher à son équipe.

Carles PUYOL (5) : Comme son partenaire de la charnière centrale, il n’a pas eu beaucoup de travail face à van Persie, isolé et maladroit. Des problèmes en revanche face à Robben qui le prend de vitesse en fin de match (84eme). Une action litigieuse qui aurait pu valoir un carton jaune au stoppeur chevelu du Barça.

Joan CAPDEVILA (5) : Rigoureux sur son côté gauche, il n’a souffert lui aussi que sur les accélérations de Robben. Heureusement, Busquets lui a plusieurs fois prêté main forte. Séché sur un vilain tacle de van Persie en début de partie, il a été averti pour s’être « vengé » en seconde mi-temps (67eme).

Sergio BUSQUETS (5) : Des sautes de concentration parfois mais surtout un gros travail à la récupération. Souvent en possession du ballon, il n’a jamais réussi pour autant à donner du rythme. Sa passe manquée de la 8eme minute fait déjà le bonheur des zappings.

XABI ALONSO (6) : Toujours bien placé sur le deuxième ballon, il a réussi une moisson impressionnante à la récupération. Très volontaire, il a également beaucoup défendu, apportant une aide précieuse à ses défenseurs. A tenté sa chance de très loin sur un coup-franc. A côté. Remplacé par FABREGAS (87eme), qui a tout de suite pris ses marques mais perd un duel capital devant Stekelenburg (95eme). Sur le but, c’est lui qui décale parfaitement Iniesta.

XAVI (6) : Le traitement particulier que lui a réservé van Bommel n’a pas refroidi ses ardeurs. Toujours en mouvement, il a offert beaucoup de solutions et fait beaucoup de mal à ses adversaires à chaque fois qu’il a eu le ballon. Un coup-franc de peu à côté de la lucarne en début de seconde mi-temps (55eme).

Andres INIESTA (7) : Comme Xavi, son activité permanente régale ses partenaires qui peuvent sans cesse s’appuyer sur lui, même s’il a eu du mal à les trouver comme il le voulait. Fatigué en fin de match, il gâche une très belle opportunité durant la prolongation (97eme) mais provoque ensuite l’expulsion d’Heitinga puis marque le but de la délivrance sur un bel enchaînement (119eme).

PEDRO (6) : De nouveau titulaire et très en jambes, il est bien entré dans le match. Bougeant beaucoup, il a constamment décroché et également souvent permuté pour tenter de gêner la défense adverse. Il a trop croisé sa seule frappe du match (38eme). Remplacé par Jesus NAVAS (60eme, 6) qui a réussi de très belles choses sur son côté droit avant de moins se montrer. Sur l’un de ses premiers ballons, il offre indirectement un ballon de but à Villa (70eme).

David VILLA (5) : Bien pris par le tandem Heitinga – Mathijsen, il a rarement eu l’occasion de briller. Quelques beaux gestes toutefois, comme cette reprise de volée dans le petit filet (12eme). Mais surtout cette frappe de la 70eme minute repoussée miraculeusement par Heitinga alors que le gardien était déjà au sol. Remplacé par Fernando TORRES (105eme) qui a terminé sa triste Coupe du Monde en se claquant sur une course.

As anywhere in the world, local content beats international content in audience terms where it’s available.

Openness to international content has prompted governments, regulators and African channels to increase their local content to protect their country’s cultural heritage and preserve their identity, but also to increase their audience. This local content faces two obstacles:

How to satisfy everybody? The difficulty is that the African zone includes thousands of ethnic groups and around 2000 languages. In addition, English is spoken in 22 countries, French in 21 countries, Arabs in 12 countries including Maghreb, Portuguese in 5 countries and Swahili in 3 countries.

The second difficulty is that local content is expensive and hard to export outside of Africa. Its survival is endangered if it is not organized, financed and distributed properly. And if the audience it gets is not measured, it will not attract advertising and sponsorships.

However, many local producers have been able to fare well in the game.
African music takes centre stage in Africa: Local artists send their videos to TV channels for free in exchange for visibility. There are also locally produced TV series which, even if they some are of low quality, they are finding success in the home. For example, Citizen TV in Kenya has become the number one broadcaster based on showing local comedies like Inspecta Mwala. Locally produced news, magazines and documentaries also take a significant share of overall audience.

Examples of programmes that reach large African audiences are the following:

DSTV’S SuperSport channel has secured the exclusive pay television rights for the 2010 FIFA Soccer World Cup, which is screened live and in its entirety across 42 African countries. «To be able to bring this prestigious event to the whole of Africa is indeed a special privilege and this is a proud moment for SuperSport and for the DStv brand, «said Elizabeth Dziva, PR and publicity manager of MultiChoice Zimbabwe. DStv remains at the forefront of screening major global sporting events and also provided coverage of the 2008 Beijing Olympic Games.

M-Net has confirmed that the 5TH edition of BIG BROTHER AFRICA will begin on July 18 2010 will be screened live 24/7 for 91 days on DStv Channel 198 for DStv Premium and Compact subscribers. Just days after the newest World Cup Champions are crowned, the launch will attract audience with contestants to be drawn from 14 countries and a golden prize of USD 200 000 once again up for grabs.

M-Net Africa Managing Director Biola Alabi said: «With the volume of interaction the show received from fans, it was clear that season 5 was definitely on the cards.”

Produced by Endemol and filmed on location in Johannesburg, it will feature some format changes. One technological change already in place is that this year DStv channel 198 will feature two television feeds so audiences can choose to move from one BIG BROTHER feed to another.

The key characteristics that makes BIG BROTHER AFRICA so popular is the ability for audiences to send their text and web messages direct to DStv channel 198 and see their thoughts and opinions on air. PLUS there’s the fact that ultimate power of who is evicted from the house and who remains is firmly in the hands of the voting public! In addition, by simply pressing the OK button on your DStv remote you can get updated on news and information from the Big Brother house in a matter of minutes and for ardent fan, the website http://www.mnetafrica.com/bigbrother is being designed with updates on the show as it happens, a live forum to chat with other fans, video downloads and much more.

In the francophone countries, according to Monica Mollon, Director of Omedia, TV audience specialist in Francophone Africa in partnership with TNS Sofres, successful programs currently are:

The Champion’s League, World Cup Soccer, and behind it the CAN – African Cup of Nations have beaten all audience records.

AfricaStar, a reality TV show combining song and dance disciplines was attended by candidates from 14 Francophone countries, Cape Verde included. AfricaStar 2008 was seen by 70 million viewers in prime time during 2:30 and reached a peak on June 29, 2010 for the the AfricaStar final. In each issue, international artists (like Cesaria Evora) accompany the young singers. Because it was so successful, a new season will be run in 2011.

Since June 2000, two magazines, BUSINESS INITIATIVE Africa and Africa are distributed on the continent by 45 television partner channels (public and private) in “prime time” or “access prime time”. The programs are also broadcast in Great Britain, Belgium, France and the USA. Totalling over 80 weekly broadcasts across the continent with a rapidly growing audience, both programs have a high retention rate and a strong impact.

On Canal + Horizons’s side, “the game channel” every Sunday night is a box, followed by the “Champions League” and “Top 14” for rugby. For TV5MONDE Africa, the “Top 14” on Saturday afternoon, the “Great African Film” Sunday night, the 38 Ligue 1 matches broadcast on TV5MONDE Africa with a live game each day, and 1 game on Saturday at 19:00 (HP) won the public’s votes.

As for movies broadcast in Africa, the majority come from Hollywood, but there are also 100% Africans movies, or at least shot in Africa. The commercial hit parade comes back to “District 9”. This science fiction film shot Soweto (Jo’burg, South Africa) by South African director Neill Blomkamp costs about USD 30 million. Released in the summer 2009, it garnered a slew of Academy Awards, 205 million dollars (nearly 7 times the initial bet) in 25 countries after just 12 weeks of operations as well as hundreds of thousands of DVD / Blue ray sales, not to mention the illegal market.

Several local audio-visual productions in sub-Saharan Africa come from South Africa, the most organized market, Nigeria (“Nollywood”) and various other countries that have invested in production studios and AV training. The Cannes Film Festival has moreover seen a growing number of African films represented this year.

Nollywood has released thousands of DVDs of its local production throughout Africa and has recently reached the second place worldwide in terms of the number of productions per year. MultiChoice has invested more than N13 billion (US$100 million) in Nigerian content since its entry into the market in 1994.

Another international production made in Africa is “Tinga Tinga Tales”, a superb and soon to be famous cartoon which was produced in Nairobi, Kenya with British support. Its producer, Claudia Lloyd said in an interview that the animation industry in Africa is still burgeoning but promising. Her animation is inspired by traditional stories about animals in Africa with a design derived from the artwork of Tanzanian handicraft.

The local content faces content from abroad trying to find a place in the sunny continent. Foreign distributors sell their programmes at low prices to African channels with the hope that audience is what counts before margins. Hollywood apart, Brazil distributes its telenovelas, China sells its programs to the Chinese Diaspora in Africa and India offers its “Bollywoods'”. The French film and documentary industry continues to breakthrough in Francophone Africa, while English films and Deutsche Welle (Germany) target the Anglophone countries. Italian and Japanese distributors sell kids animations. Finally, on 1st. June 2007, NBC has launched “CNBC Africa”, a TV channel focused on sub-Saharan Africa out of Johannesburg and MTV Networks Africa was founded in 2008 with the popular MTV Africa Music Awards (MAMA’s).

“DISCOP AFRICA” organized by Basic Leads has become the first professionally organised content market on content, specializing in the sale, purchase and co-production of audiovisual content.

Held in different African cities (Dakar, Nairobi, and soon Accra), DISCOP AFRICA is preparing for its 4th edition where it will again bring together over 350 professionals: African and international suppliers of movies, programs, TV formats and channels packaged providers, content broadcasters using terrestrial, satellite, cable, internet and mobile means operating in sub-Saharan Africa. Many TV sponsors, advertising agencies and other funders are also taking part at this exhibition and conference.

Cherise BARSELL, in charge of Discop Africa confirms: ” African channels’ Buyers are looking for the following, in order of importance: TV series, documentaries and Telenovelas. The educational content and movies come immediately after.” International broadcasters are interested in African content, but they find their distribution in their territory often limited in terms of audience.

Alongside DISCOP AFRICA, training programs “MADE IN AFRICA” were held during the three days show. Organized by, among others Canal France International (CFI), these courses are designed to assist Africans producers and distributors of audiovisual content in their efforts to find funding and distributors. “We help the production and circulation of films. But we also have many courses that are aimed at directors, producers, directors of advertising and television journalists, “says Guillaume Pierre, Director for Africa and Indian Ocean CFI.

In second place, there are international investments in film production on the continent: Hollywood looks to South Africa as a location, the European Commission has launched programs to provide financial support for African projects, the French government invests in production, training and distribution while French production companies such as Canal + or Studio 37 (an Orange subsidiary) sometimes hire African filmmakers…
Passionate about Africa, Frédérique Dumas, CEO of Studio 37 has invested in Benda Bilili, a film on handicapped African musicians coming out on Sept. 2010 which was well received at the “Quinzaine des réalisateurs”. “Women are heroes” released on Jan. 2011 and various projects including “La Pirogue” from Moussa Touré about illegal inhabitants, “Les chauves souris” from Eric Névé, and more.

The third initiative concerns the digitization and archiving of content in Africa. Many directors and industry experts have found it essential that programs extend life beyond a festival, the first or second broadcast on African TV channels, and especially before films deteriorate. We can note four major projects in this area: the launch of «Plan Images Archives East Africa”, initiated by the Office of the audiovisual Embassy of France as part of “Plan Images Archives” from the French Ministry Foreign and European Affairs, will the digitization of audiovisual archives of public radio and television in Kenya, Uganda and Tanzania, delegated to CFI.

On 23 September 2009, M-Net launched an African Film Library – the largest electronic library of feature films, shorts and documentaries from 50 years of African film production. Over the past three years, M-Net has been negotiating the rights to almost 600 works in English, French, Arabic and Portuguese and digitizing them. It consists of award-winning works from more than 80 filmmakers including Kwaw Ansah from Ghana, Senegal’s Ousmane Sembene and Djibril Mambety, Yousef Chahine from Egypt, and Haile Gerima from Ethiopia. Films are on offer through its video-on-demand (VOD) service via http://www.africanfilmlibrary.com.

M-Net also plans to utilize conventional and new media (digital and internet broadband) distribution approaches to ensure maximum and sustained exposure of African films across the globe.

By accessing the “African Film Library” online, users of the service will be able to search by genre, director or language and pay for and download digitised footage. Similar to a DVD rental service, viewers will have 24 hours access to the content. It is important to note that the content is portable, but the license is not so viewers can download the film on to a disc or flash drive, but will be required to pay again should they wish to watch it on another device or after the 24-hour period has expired.

More recently and following the call for proposals under the EU funded “Africa Caribbean and Pacific” Programme, IDmage launched a web portal that allows any African producer and distributor to earn money by distributing their works on VoD globally without any exclusivity.

The OIF (Organisation Internationale de la Francophonie) has also set up a backup and recovery programme for all of the films that the organization has co-produced. The “Francophone Digital Catalogue – images of the South” is a portal for movies and other documents of memory.

Finally, many websites offer the sale of African films on DVD or streaming / VOD. On the business front, webportals such as Mediapeers also provide the ability for buyers to acquire African content and for African content sellers to provide their products globally.

From a broader perspective, African radios and televisions are developing plans around their archives’ exploitation from a business perspective as well as in terms of preservation of national memory, historic support and cultural education.

Since 2000, the Africa TV has undergone a double through technological change and market liberalisation. Government control has been gradually replaced by an independent regulator. Private channels have flourished and are now entering a consolidation phase. The granting of new licenses including through the launch of DTT will be expensive but should also bring in money to governments which in turn should support new media, local production and improve content quality. But this requires new open and transparent independent regulatory mechanisms which are not yet implemented by all Africans regulators.

Another significant development affecting the content is the media economy.
The media bodies are no longer just political and cultural institutions, but also economic centres. In this regard, the challenge is to ensure that these bodies become successful audio-visual institutions without becoming purely economically driven, without neglecting their educational and cultural role. The very recent explosion of digital media makes the role of regulators more complex, requiring new regulatory frameworks, but diversifying content and uses increasingly hard to control.

It seems that Africa has embarked on the path of diversity of opinion and access to a larger number. At the Convergence with ICT, African governments will encourage the creation of local audio-visual content and try to control a global audiovisual content. Protecting vulnerable public, especially children is at the heart of the debate: violence, pornographic content, or discrimination, excesses of some religions and commercial advertising.

One question remains: when will African programs acquire international visibility? When they are ready for that, and the president of the International Union of Francophone Press (UIPF), Hervé Bourges to conclude by predicting as early as 2005: “The African continent is currently at the cutting edge of music production, it could become the same in the audiovisual creation.”