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

Review: Yung L is back for the first time

30 Oct 2017 - 11:47

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The title of the new Yung L album, Better Late than Never, is its own story. Mr Marley, as he’s otherwise known, is either telling a triumphant tale or commenting on a tragedy.

Yung L..."excels at mid-tempo tunes". Photo:

For listeners who have followed his career, from his appearance on Ice Prince’s 2011 track ‘Magician’ to his own 2012 single ‘Red Rose’ to 2016’s ‘Pass the Aux’, there are maybe two major emotions: joy and perhaps relief.

A former member of GRIP Boiz, alongside Endia and J-Mulla, Yung L is himself happy and relieved. Just before the BLTN’s bonus tracks, his mum appears with a two-minute prayer that her son’s debut album succeeds, and this leads to a 10 minute stretch of recorded messages, named ‘Voice Notes’, which consists entirely of congratulatory snippets from friends and family. I want to justify this indulgence by thinking of it as elation at his finally releasing an album, but I’m also thinking: 10 whole minutes!

Better Late than Never mostly plays to Yung L’s strengths. The man excels at mid-tempo tunes, working his syllables lightly, never quite giving more or less than what is required for beats that go from reggae (what appears his main interest) to generic Nigerian pop. This ability yields two highlights on BLTN ‘Anya’ and ‘Superman’. The latter comes with a hook that is silly or sublime—or both:

Dem say me bad
Omo leave story

Dem make me laugh like-a Gringory
You f**king with the star
Girl, astrology!

The lines marrying stardom with astrology sounds corny and inevitable it’s surprising Nigerian pop acts have hardly used it. And if the song gets released as a single and finds a large audience, Perhaps Yung L will be remembered as the pioneer of a pop cliché.

It is upon such unexpected turns that a star might be borne these days—as perceptible, for instance, in the delicious vocals of Wizkid, the ludicrous humour of Tekno, the versatile mystic of Burna Boy. Yung L never really shows a personality or an abiding musical quality or quirk as those acts for sustained periods, and that lyrical turn parsed above appears rarely across the BLTN. Neither do the album’s featured artists don’t do much to elevate the album.

We get the unimaginative reggae-dancehall ‘Suzzy’, a song so lazy Paedae of Ghanaian duo R2Bees, no one’s idea of a good rapper, might have recorded his verse half-asleep. Sarkodie, usually decent on Nigerian songs, will probably forget he is on ‘Pressure’. Yung L, who got signed to Chocolate City this year, is better without the Ghanaians, as his solo highlife tune ‘Pinpinida’ shows. Their inclusion is perhaps to court a foreign audience, but it is hard to see that working out with these songs. One is left to wonder if an MI Abaga verse here, an Ice Prince hook there might have been better.

As first album, Better Late than Never is a decent introduction to Yung L as a solo act, and he’ll get an even better chance to show up on singles and there will be a second album. Hopefully, that album won’t be released too late.

Buy BLTN on iTunes

Artist: Yung L

Album: Better late than Never

Label, Year: Chocolate City, 2017

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