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

Reviews

Gaga Shuffle: 2Baba returns to comedy

31 Aug 2017 - 11:55

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The new 2Baba single seems to have filled a section of pop music fans with dismay and disappointment. How can the man go from singing the political 'Holy Holy' to something as frivolous as a song named for a dance step?

2Baba's humour has always been taken for granted. Photo: YouTube

This reaction is the result of 2Baba’s status as one of a few conscious acts in the Nigerian pop music industry. It is also the fault of a partial reading of the 2Baba discography.

For the uninitiated, 2Baba started off as member of a trio called Plantashun Boiz. Their music was mostly love songs. And as a solo act 2face continued in that vein, scoring his most popular hit 'African Queen', a single from his debut album Face2Face. His lover-boy persona took hold. By his second album Grass to Grace, songs like ‘For Instance’ gave him a political outlook.

That album also had the best song 2Baba has written, ‘E Be Like Say’, which combined the political and the personal: the song addressed the deception of politicians and of lovers or friends. Nigerians quickly claimed him as some type of pop messiah. His much talked about humility only added more credibility to his messianism. It is why his decision to protest against the government this year was taken seriously. It is why his reversal was met with widespread condemnation. It is why the new single ‘Gaga Shuffle’ has made some listeners angry.

While this anger, always overheated on social media, might be understandable, it is also borne out of forgetfulness. Of all of the qualities 2Baba (or 2face) has shown over a long career, his humour is the one thing consistently taken for granted.

As early as Face2Face, 2Baba was a funny lyricist. If the love song ‘Right Here’ was delivered straightfaced, ‘Ole’ from the same album was at least clever. “I am calling you ole, cause you stole my heart away” is a line delivered by a young man insisting on conveying his anguish with humour. His first single ‘Nfana Ibaga’ was a lighthearted tune tracing his average day. And he managed to tell a hilarious tale about attending a party with his pals on ‘Keep on Rocking’.

By the sophomore, his humour had become deeply embedded into his music. The video for 'For Instance' was an animated video back when that form was hardly seen as conduit for contemplation. He compared his state of being in love with certain personalities—Mandela, Jay Z, Obasanjo, Bill Clinton among others—on ‘I Dey Feel Like’. Those aren’t tactics favoured by the sober singer social media critics of the new single might have you believe 2Baba is. In fact, subsequently released songs like ‘Implication’ and ‘Iheneme’ seem to have been sung for the inebriated. What made a song as serious as the autobiographical 'Raindrops' from the Unstoppable album enjoyable was the humour within its admonishing chorus: "Young man, be careful and think it twice, before you choose to use...your device."

A clearly activist band like BANTU has spoken about not wanting to be seen as purely political. "I don’t want a situation where people assume we’re just a political band," the group's leader Ade Bantu told Music in Africa recently. "We’re conscious, but at the same time consciously playful." Even the grand patron of Nigerian musical activism Fela was seen a bit of a jokester during his live shows. It is in this spirit the new 2Baba single should be received.

From the video and the song’s lyrics, ‘Gaga Shuffle’ appears to be both a comically bad dance step and a tribute to a friend named Larry Gaaga—On Twitter 2Baba retweeted a message saying, "Talk greatness! Talk about Larry Gaaga, a man of greatness! Happy birthday to an icon." The song alludes to drunken behaviour and features one comedian and several pop acts: One of the P-Square men, Azadus, Timaya, Tiwa Savage—a selection of artists from the first days of contemporary Nigerian pop to those who arrived within the last decade. And the song’s production is taken from the currently dominant mellow vibes inspired by Ghanaian music producer Juls and the singer Mr Eazi, and used on songs like Runtown's 'Mad Over You' and Flavour's 'Sake of Luv'. By pairing comical lines—“As I wan crase, I wan involve you for my f*cking crase”—with music of the moment, 2Baba shows he understands the current craze in African club hits. Unlike D'Banj boasting on the derivative production on 'El Chapo', 2Baba understands irony and plays his own use of trending beats for laughs.

'Gaga Shuffle' is not one of 2Baba's great songs—'Raindrops' may be his last truly great song—and it may be a departure from his own more political songs, but it is no failure and is firmly within the 2Baba tradition. The unrelenting messiness of Nigerian politics might make fans forget just how funny 2Baba could be. But that's hardly his fault.

Artist: 2Baba

Song: Gaga Shuffle

Label, Year: Hypertek, 2017

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