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

Biafra, Buhari and elections: Nigerian musicians take to politics

14 Aug 2017 - 18:16

cc-img flag-img

A bill allowing younger persons to contest elections in Nigeria was recently passed by the Senate.

Charly Boy holding a poster demanding the resignation of Nigerian President Muhammadu Buhari. Photo: The Guardian

If approved, young Nigerians will be able to contest presidential elections at age 35 while the minimum age for becoming a governor or senator will be 30. Previously, aspirants had to be five years older in each case. A number of artists have now shared their intentions to run for office.

One of the most public announcements has come from Kingsley Okonkwo, the musician popularly known as Kcee. With a poster that has been widely shared on social media, he announced that he would contest for the governship election in Anambra State. “I will submerge myself in the next coming months to seeking necessary counsel and support in achieving this goal,” he said. “I encourage every youth and all of my fans to join this movement of contributing our quota to the rescue of this great nation.”

Okonkwo's announcement has been met with bewilderment online and, in some cases, ridicule. So far he has appeared unfazed by the negative reactions.

His colleague, Terry G, who scored a hit years ago with a song titled ‘Free Madness’, has announced his intention to be governor of Benue State. The artist, whose real name is Gabriel Ochie Amanyi, took a less sober route than Okonkwo, saying, “Power belongs to the youths. Say no to old cargos. Vote Terry G for governor/deputy of Benue State. I will make you proud. When I say legalise you say ginjah.”

Expectedly, Amanyi’s strange bid—for both “governor and deputy”—has been derided online.

Okonkwo and Amanyi were beaten to actually contesting elections by 9ice, who in 2014 contested and lost a bid for a seat in the House of Representatives. He never made it to the general elections as he lost at the party primaries.

Beyond seeking elections, some Nigerian artists have chosen to use activism as a tool for political change. The most famous of these acts was the late Fela; perhaps the youngest contemporary act to do the same is 2Baba, who was set to join a protest against the Nigerian government. The ‘African Queen’ singer later changed his mind, sparking both condemnations and commendations. The reaction to his failed bid has been said to have led to his recent single ‘Holy Holy’.

Recently, Charly Boy, a pop act popular in 1980s, joined a protest insisting on the resignation of President Muhammadu Buhari who has been away from Nigeria on health grounds for months. His activism, he said, saw him assaulted by the police. “They were hostile and then suddenly unleashed the dogs which were coming voraciously to attack us,” he told The Guardian. “One of the dogs bit a fellow protester, before we knew it, they fired a hot-water cannon which hit me at the back, and then started firing the teargas at us. An overzealous policeman then hit me with the butt of his gun, I collapsed and my people have to carry me.”

On 12 August, Charly Boy addressed clamours for the creation of Biafra by some Igbos in a public letter. “My question to those agitating for secession would be that if each tribe decide to secede from Nigeria today, what then would happen?” he wrote. “Who would lead the new nations? Will the people be happy? Will injustice be defeated in the new societies? Will criminality end in leadership positions? Will there be happiness in the new nations? Will the people finally have a country to call their own?”

His reckoning—that “the suffering of the people from the southeast is also the suffering of the people from the other geopolitical zones in Nigeria. And the oppression of the Igbo people is also the oppression of all Nigerian peoples. An injury to one is an injury to all. A Biafra state is not going to change the players of the game, it will only exacerbate the sufferings of the victims of the game”—hasn’t been unanimously accepted by his fellow citizens.

As with the other musicians he, too, has had to deal with ridicule. These artists may have used different means to engage politically, but reactions to their intentions have been equally divisive.

Please log in to post a comment.

Most popular

Disclaimer: Music In Africa provides a platform for musicians and contributors to embed music and videos solely for promotional purposes. If any track or video embedded on this platform violates any copyrights please inform us immediately and we will take it down. Please read our Terms of Use for more.

newsletter banner

Subscribe to our monthly Newsletter

Follow us on social media