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 takeaways: Tiwa Savage and Universal Music Group deal

02 May 2019 - 14:12

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News of Tiwa Savage’s deal with Universal Music saw the artist trend on social media for hours.

Tiwa Savage's deal with Universal Music has several implications.

The deal marks the end of Tiwa Savage’s 7seven-year arrangement with Mavin Records, the record label founded by popular music producer Don Jazzy.

Here are five implications of the artist's new deal:

1. The brand

The deal means Tiwa Savage, who once toured with Mary J Blige, might be coming full circle. She worked with an American at the start of her career; she is now signed by an American label.

The deal has added one more dimension to such online arguments concerning who is a bigger artist between her and any other female pop act from Nigeria. Such arguments never really end but Tiwa Savage fans have now acquired new ammunition in the (probably fictitious) battle for superiority.

2. The sound

A common fear when an artist signs to a foreign label concerns how much of a change might creep into her established sound. The fear is not unfounded as the first projects from Wizkid and Davido showed a couple of years ago.

It is not possible to tell if the same might befall Tiwa Savage but it does appear that she has thought about it long before the new deal was signed. Back when she got a deal with Jay-Z's Roc Nation in 2016, she explained that the foreign executives were “not really trying to change the sound. I would say maybe branding and artist development [might change]—in terms of, our music industry is completely different in Africa than it is in the US or UK—so it's just learning a different infrastructure. The product is still the same”.

While her fans would hope that is still the case, it must be said that Tiwa Savage has one advantage over Davido and Wizkid: she is likely more familiar with working with the sound, given her background in the US music industry at the start of her career.

3. The money

With an upgrade in status comes an upgrade in performance fees. As the Nigerian music industry is heavily driven by performances, it is expected that Tiwa Savage’s management demands higher charges for the artist to appear at concerts.

The deal also gives Tiwa Savage an opportunity to perform in more places, as the global reach of Universal Music is considerable. New audiences lead to new revenue sources. Another way by which her bank balance is certain to improve is via direct sales of her music, either physically or digitally. She is certain to make more money from such sales given the degree of American monetisation of music content and the heavy loss of income due to piracy in Africa.

The figures are in favour of the Nigerian artist: Based on the financial results from the first quarter of 2019, Universal is doing very well. Not only has it recorded an increased revenue of 19.2% year-on-year, but its earnings from streaming have also gone up 28.1%. Universal is unlikely to make the error Sony Music did with the Wizkid and Davido projects, both of which weren't distributed within their home country, leading to a loss of revenue for the artists.

4. The music scene

There can be no more arguments about the dominance of Nigerian pop on the continent. The country’s top four stars—Wizkid, Davido, Burna Boy and Tiwa Savage—all have deals with major players in the global music business. With these deals and the possibility of more foreign collaborations, Nigerian music has a chance to influence global pop on a larger scale than it has done already.

For newer acts, this courting of Nigerian artists by global players provides a model and an assurance that, if things work out well, it is possible to attract the right partners as a career progresses.

5. The former boss

The exit of Mavin Records biggest artist might suggest that the label is in a bit of crisis, especially as some of its less prominent artists have also left the label. But there might be a bit of a silver lining for the label. With Tiwa Savage’s exit, there is an opportunity for her erstwhile label to sell itself as an incubator for artists with the potential to reach a global audience. In the meantime, the label’s boss has done wonderfully at quelling any rumours with a statement released shortly after Tiwa Savage’s departure.

“We at Mavin would like to say a very big thank you for being such an inspiration to all of us, a friend, a sister,” Don Jazzy wrote. “It’s been an epic journey with you and we are very proud of what we have achieved together. As you start this new chapter in your life we want you to know that we are solidly behind you and can’t wait for the world to see what we have always believed you can be.”

It appears Don Jazzy has already begun the process of reselling the Mavin brand. It is as yet possible that both past and new labels will benefit from Tiwa Savage’s big move.

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