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

10 questions for Nigeria’s Asikey

21 May 2020 - 17:13

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Asikey is an alternative artist based in Nigeria. She was introduced to music lovers in 2015, the same year that her first single ‘Let Us Be’ was released.

Asikey.

Two years later, she released an EP titled Human. That EP bears the song ‘Earth Attack’, which won Asikey the AFRIMA for Best Female Artist in African Inspirational Music. Her neo-soul track ‘Dark’ received a nomination, this time for Best R&B/Soul Song at the same awards ceremony a year later. She has also released the singles 'Love With You' and ‘We (Don't Let Me Go)’.

Asikey recently spoke with Music In Africa about her latest EP, Yellow. The project, which was released on 30 April, features popular Nigerian act Brymo.

MUSIC IN AFRICA: Congratulations on the release of Yellow. It’s such a wonderful work. How long did it take to write, record and release?

ASIKEY: Thank you. It took roughly 15 months to write and compile, although some songs, specifically 'The Kind That Live Forever' and 'A Miracle', were written in 2017.

Why the title Yellow?

Yellow, as used in the EP, is a symbol of hope and positivity. It reflects the "strength to pick ourselves up when we fall", as the song says.

You won an AFRIMA in the inspirational category in 2017. And there are songs on Yellow that fall in that category. There are also songs that seem to allude to romance and religion. Is that a fair assessment?

I'm not religious but I believe in the spirit. I mean, the spiritual is more real than the physical. So when I said, 'This is where I saw God, not in the crowd at the chapel / I saw Him in yellow", it's nothing religious. I'm saying that I saw the concept of God in hope and positivity, which is what yellow symbolises.

And "Here's to all the hearts who still believe in love" is not about romance. Romance is too narrow to describe it. It's really about a kind of love that is the force of love in its purest form. The kind that holds our universe together.

It's tempting to say you make music in the soft rock genre because on songs like ‘Paranoia’. You bring to mind Avril Lavigne’s style of singing. Would you agree that soft rock is an accurate label for your music, and do you see that label changing in the future? Perhaps you’ll make mainstream Naija pop?

Soft rock is definitely not far from it. I honestly don't know about the label change. But there's no telling where the music can take you. Mainstream Naija pop… We shall see.

You probably hear this a lot, but your style is not exactly what one usually hears from Nigerian acts. Where is that style from?

Yes, I hear it a lot. The style is from Asikey. As to what informs it, I think it's partly a product of my musical influences, the kind of music I listened to growing up and what I still listen to now. Also, I write mostly in English and that further gives my music that apparently non-Nigerian quality.

What do you say when you're told that your sound has little commercial appeal in Nigeria, and that it hasn’t been tested across Africa yet? Do you become anxious about this?

Anxious? Not anymore. But I was anxious earlier in my career. Now, I'm easing more and more into my process and style, and with more and more people beginning to appreciate it, my anxiety has waned. Also, it's more important to me that I express myself in exactly the way that I want and, being a true artist, that's more important to me than even commercial appeal.

What is your approach to songwriting?

When I write, for me it's about getting myself out of the way. Like just opening myself up and letting in infinite intelligence. I think every honest artist will acknowledge that they're just a channel for the divine stream where music and everything created comes from.

Is there a reason why you have chosen to release an EP rather than a full album?

Well, I should say I'm testing the waters with an EP – getting people to have a detailed feel of what Asikey sounds like before there's an album.

What was it like working with an accomplished artist like Brymo?

Brymo is an easy soul, a powerful songwriter and an artist. It was the greatest experience having him on 'The Kind That Live Forever'.

What's next for Asikey?

There's going to be more, more, more. There's a lot of creating I have to do. My life is one devoted to music, so there's no comprehending all that's going to come out of it.

Stream Asikey's Yellow EP here.

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