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

Obituary: Samuel Nkem Mathews of One World

01 Nov 2018 - 12:55

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By Iwedi Ojinmah

Editor's Note: On 30 October, Samuel Nkem Mathews passed on. He was the lead singer of popular Nigerian 1970s band One World. Instead of a traditional obituary, we are publishing a fan's tribute.

Sam Mathews was the lead vocalist of 1970s band One World.

The band One World was formed after the breakup of The Strangers, so what was Owerri's loss technically became Aba's gain. But despite losing the amazing songwriter Bob Miga, the new band arrived relatively intact and ready to fire on all cylinders.

The transplants from The Strangers included Anii Hofnar Umebuani, Gab Chuma Ozani, Samuel Eze McKing and, of course, the effervescent Samuel Nkem Mathews.

Treated like royalty in the elephant city as soon as they arrived, they became the best cover band in the region and could reproduce any song with an unbelievable exactness. But more on that later.

Although they had already made such hits as 'Love Rock' and 'Nobody Called Me' as The Strangers, their first two singles as One World, 1973's 'I Am Not a Fool' and 1974's 'Familiar Face', caused a mere ripple on the local music scene. With the advent of jazz-fusion and dub-reggae, almost every listener had become a critic and certainly more discerning in terms of what they deemed 'good'.

All that ended in 1975 with the release of the LP Victory. It became their magnum opus and remains not just a classic in the Afro-rock genre but has spawned a cult-like following for the band, fondly referred to as Otu-Uwa. Even though they would release four other LPs, Peace (1976), Rejoice (1977), Mama & Papa and This Baby is Mine, both in 1978, nothing could replicate the success of Victory.

Released two years ahead of Fleetwood Mac's Rumours, Victory was our version of the American band's classic record. It was a perfect mix of pop and rock and yet infused with an African twist. Even today listening to Anii Hoffnar's exploits on the guitar, especially on 'Look At the World' reminds me of Lindsey Buckingham. Like the Fleetwood Mac guitarist, there was a certain aloof brilliance to him.

Such was not the case with the singers. Both Gab Ozani and Samuel Mathews were as engaging as they sounded. Especially so was Mathews who was a crooner of such quality that people looked forward to when he sang lead.

How good was One World at covers? Well, take 'Daniel' by Elton John from 1973. Sam Mathews would deliver it with such detail that, upon hearing it play years later in the US, I would debate who sang it better. Sir Elton or Oga Mathews? I still haven't made my mind up, and considering how brilliant Elton John is as a vocalist, then and now, that conflict speaks volumes for Mathews.

Mathews used the microphone as a prop and yet almost never held it. It was always affixed to the stand, sort of like what Steve Perry does with Aerosmith, but without the stupid scarfs. I can still remember him the last time I saw him perform. Eyes closed and covered by a thin sheen of sweat, he wooed us for almost four hours, non-stop.

The place was Doris Hotel in Umuahia and tons of us had snuck out from Government College Umuahia to watch him and his mates perform. We would all get suspended for it later on, but I would gladly do it all over. Most of my fellow culprits would do likewise.

Mathews loved caps and hats and that day he wore one of the blue and white skullcaps with a pom-pom. Normally, I hated them because they were so popular and suggested conformity, but on Mathews it didn't look vulgar. Instead, as he delivered song after song, he looked like he had just stepped out of the album cover of Marvin Gaye's Let's Get It On.

Mathew moved his hands a lot. He used them as props calling us to attention or inviting us to follow him on his journey. One moment he would be like a Mbamiri dancer without her flapping hankies, the next he would box the air with an Ali-esque jab. He was the ultimate entertainer.

Samuel Nkem Mathews died a few days ago closing a chapter in a storybook that will be forever embedded in my mind, as well as in those of the thousands of fans he spoiled silly with his gift.

I personally will never forget him and will use the same words he sang to me so many times before to say my final goodbye. It is a line from 'The Victor':

"And I ask myself, shall I be the victor? Are you truthful, are you truthful that you will be good to my life?"

In both cases, I am proud to say yes. Samuel Mathews you were a victor, and while I don't know if I affected your life, you were good in mine. Rest in peace, sir.

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