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

5 of the best: The essential Ebony songs

12 Feb 2018 - 12:04

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The Ghanaian star Ebony who died last week was on the path to resounding popular success.

Ebony was on the verge of resounding pop success. Photo: CPix

She was talented, beautiful and controversial—all elements that had served her well in 2017, her breakout year, and would undoubtedly have continued to help her thrive. That dream has been denied all of her fans and family. The consolation of her music remains.

Below we track her rise through five essential tracks. For those who followed her career, the list will spark memories and perhaps thoughts of what might have been. For anyone—within or outside of Ghana—who have only heard about Ebony’s music upon her untimely death, this list is an introduction to what the fuss was about and why Ebony (16 February 1997 - 8 February 2018) was such a big deal.

1. Dancefloor (2015)

The year she turned 18, Ebony released ‘Dancefloor’, her first single. She had gotten signed by the famous musician Bullet to his Rufftown Records. Listeners—and watchers—were impressed enough for the song to get to the Vodafone Ghana Music Awards’ Unsung category. Clearly, she could sing, dance and was also in control of her own sexuality.

Although she says “I’m not the type of girl who falls for the dough and sleeps around”, in coming months, not without her help, the Ghanaian media would elect her as something of a sexually confident diva. By the release of the video for her second single, the more straightforward sex song 'Turn on the Light', in which she implores a lover to see her "good body shake", the controversial image had take hold.

2. Kupe (2016)

Kupe saw Ebony prove she could rock a proper Ghanaian pop beat. The song expresses a woman’s dissatisfaction at a lover who has made her a side-chick. “I want to be in charge,” she says over a compulsively danceable beat. Her answer to her lover's cheating ways is a surprise.

As one writer puts it, "lamentations of regret and deceit, [feeds] a storyline [by a] lady whose only revenge to a cheating boyfriend is well deserved sex". In the song's video, her youth is evident—as is her apparent enjoyment of her own song. 'Kupe' and the more risque hit single 'Poison' form quite a pair.

3. Sponsor (2017)

Possibly her funniest and realest song, Sponsor has Ebony contemplating what to do about two lovers—an older rich man and a younger “broke” guy. At one point, she asks: “Should I leave all this Gucci, Prada? Na which young girl no dey fear hunger?”

Considering how popular this song turned out to be—it was the most played song on Ghana radio last year—there is a chance a good many people could relate with what Ebony phrases as a “dilemma…I’m in dilemma”. There is also a chance that 'Sponsor' is the song many would remember Ebony by.

4. Hustle ft Brella (2017)

Her controversial image got all of Ghana talking, but Ebony was loved by the streets because they could identify with her. On 'Hustle' she repays the streets by singing about their aspirations. For the video, she goes to the market. The glee on the face of the regular people in the video tells its own story.

5. Maame Hwe (2017)

Her most conscious song, 'Maawe Hwe' was a bit of a surprise for some because the video showed a covered Ebony. The song, which speaks against domestic violence, showed Ebony wasn’t all about the controversy. In the wake of her death, one of the more surprising tributes referenced this song. After expressing sadness at her demise, President Nana Akufo-Addo added: “My favourite track [was] on domestic violence and relationships, 'Maame Hwe'.”

The tweet was proof, if any was needed, that in her short time on earth and shorter time in the music industry, Ebony had produced work that connected with both the mighty and the masses.

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