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

Features

Meeting William Onyeabor in the short documentary ‘Fantastic Man’

21 Aug 2015 - 10:23

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By Thomas Gesthuizen

When American label Luaka Bop released a compilation of songs by enigmatic 1980s singer William Onyeabor in 2013, they unleashed a full-on promotional campaign which included a website, t-shirts, buttons, a virtual fanclub, launch parties in cities around the world and a string of remixes by some big names in modern electronic music.

William Onyeabor outside his house.

The CD and double LP Who is William Onyeabor is aptly titled, because few people know much about the artist and what became of him since he released his last pop album in the mid-1980s.

The enigma greatly contributed to the appeal that William Onyeabor’s albums have to a young and mostly non-Nigerian audience around the world. His original albums are hard to find, the rarest ones fetching over $1000 on Ebay, and until recently few people had spoken to the man again. Yet, his sound, which was certainly unique at the time, a merger of funk, soul and pop, played on expensive – analogue – synths, with the occasional feel of a proto-house track, has proven relevant and of interest to a new group of people, which for a large part seemed to consist of white, 30+ males who are otherwise into electronic music and the vintage sounds of Africa. The scope of Luaka Bop’s reissue has moved the exposure outside that group though, breaking new territories for reissues of African music of the 1970s and 80s.

The long mission to get William Onyeabor to agree on a reissue series has been partly documented, and our friend Uchenna Ikonne (Comb & Razor) played an important role there. The official story that was put out there by the record label is that William Onyeabor became a born-again Christian and didn’t want to have anything to do with his worldly artistic past. However, all this time it was conveniently left out that he continued making music, and even released a couple of music videos – all religious music, and therefor undermining the assumption of the PR campaign for the Onyeabor reissue series – ‘Who is William Onyeabor’? The answer to that question better not be ‘A Christian singer who has moved on from his musical past’, right?

And just as we were left at that conclusion, while enjoying the reissue compilation along with the integral release of his rarest album, Good Name, this came out: Fantastic Man, a 30-minute long documentary by You Need To Hear This (part of Vice magazine’s music section Noisey) which – just like previous articles – traced the steps towards meeting Mr. Onyeabor and talking about his past, since he still refuses to shed light himself. Even people that have seen him recently talk about him as if he’s the greatest living mystery, leading to such quotes as, “He’s a giant – he feeds once a day, and when he eats he will eat the food that 3 or 5 people consume”. Featuring record digger Duncan Brooker (Strut), producer Damon Albarn, writer and Nigerian musical historian Uchenna Ikonne, lawyer/historian Ed Keazor, producer Goddy Oku and many more but most importantly there’s at last a glimpse of the man himself on camera – meeting William Onyeabor outside his mansion near Enugu in South Eastern Nigeria.

Watch the documentary below.


Originally published on 25 February 2014 at Africanhiphop.com

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