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

Fela: My tears would be a victory for the ruling class

18 Aug 2017 - 07:33

cc-img flag-img

A series of letters claimed to be written by Fela Kuti while he was in prison have been published by a Nigerian newspaper.

Fela wrote letters to his brother Beko Ransome-Kuti from prison. Photo: Karen Zebulon

The letters show the late Afrobeat artist writing to his brother Beko Ransome-Kuti as well as to the chief superintendent of the then Maiduguri prisons, P Goji. Fela thanks the latter for bringing his convicting judge to see him.

“I sincerely thank you for arranging (the) visit of 24/9/85 between Justice Okoro-Idogu and myself,” Fela writes. “As you would have noted that day, I appreciated the visit. In fact, it was more significant than any other visit I had since I was jailed. The reason being that it provided me an opportunity to learn through the chairman of the tribunal which convicted me that I committed no offence under the law of the land.”

Happy to be told by the judge that he was under pressure from the government, Fela is understandably elated. “I really felt on top of the world when he told me I was not an economic saboteur but a victim of circumstance. As I told Justice Okoro-Idogu, I no longer see myself as a convict but a detainee who would soon regain his well-deserved freedom.”

Unfortunately, his release from prison doesn’t happen quite as quickly as he’d hoped. And by 1986, he is still in jail. His letters to Beko Ransome-Kuti are written from 1984 to 1986. He complains about how a prisoner still has to make arrangements for his own feeding, he agonises about his band, and is unhappy about his illegal detainment. “I am tired of this punishment,” he writes. “What am I doing here? I am not guilty. The judge has begged me. They have to make a statement whether I finish my jail term – which is injustice – or they release me now.”

This, however, is one of the early letters written from Ikoyi Prisons, which shows Fela’s own notion about his image. “Honestly, Beko I had to restrain myself from joining you in weeping for our country at her dark hour. You know my tears would have been interpreted to mean a triumph for the ruling class. I am sure you would have wept more to read in their papers, stories like Fela weeps on way to jail.”

Fela and his brother were radical in certain ways, but Beko was seen as more level-headed than the musician. In another section of the Ikoyi letter, Fela subtly points to their differences. “I was very happy to learn this morning that Egba women took to the streets yesterday to protest against excessive levies being imposed on them. They even went to mama’s grave to pray to her to guide them in the struggle ahead. You may dismiss this as superstition but it means much to the women.”

Nonetheless, the letters show the siblings shared a bond. Said to be close to Fela despite their differences, Beko swore an affidavit in support of Fela’s release. And Fela signs off most of his letters with, “Your loving brother.”

The Ransome-Kuti family is yet to respond to the publication of the letters.

Felabration, the annual celebration of Fela's life and times, takes place from 9 to 15 October.

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