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

Kwesta talks about success of Jameson partnership

13 May 2020 - 13:19

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The COVID-19 pandemic has ushered in a new era for the creative industry around the globe, with most artists and corporates adapting to new ways to sustain their brands. Transitioning to the online space has now become the norm, and whiskey brand Jameson is among the companies that has vowed to keep people entertained and connected during the COVID-19 lockdown in South Africa.

Kwesta.

In April, Jameson launched the month-long Jameson Connects: The Stay Inn playbook, which featured live streams of music performances, stand-up comedy and discussions. The virtual series was hosted by South African award-winning rapper Kwesta, comedian Glen Biderman-Pam and TV host Lalla Hirayama, and the music segment featured K.O, NaakMusiQ and Emtee. The platform sought to play a pivotal role in eradicating social boundaries while encouraging people to overcome their fears and reconnect as a global family.

In addition, Jameson will use proceeds from Jameson Connects: The Stay Inn to donate money to bartenders and restaurant workers affected by the COVID-19 crisis.

“Bringing people together through culture is across everything we do as Jameson," Jameson and Irish Whiskeys marketing manager at Pernod Ricard SA, Beatrice Marfleet, told Music In Africa. "In the context of COVID-19, we have the new reality of not being together, staying at home and social distancing, and because of that community and connection is needed like never before. By taking the Jameson Connects platform fully virtual, all boundaries to connecting with each other are completely eradicated, even if we are restricted like never before.”

Kwesta's Jameson partnership

Jameson Connects: The Stay Inn also gave birth to the Kwesta Rap a Verse competition through a partnership between the musician and the whiskey brand. The competition, which closed on 10 May, will see an upcoming rapper collaborate with Kwesta on his upcoming album.

“Most brands need to find a new way of communicating with their customers,” Kwesta said. “Jameson has always connected people through culture and facilitated collaborations, and that’s why the Kwesta brand and Jameson are good partners.

“The Rap a Verse competition was a big selling point as well. I know how difficult it can be for young rappers to make it big and Jameson is providing this platform for an upcoming artist to shine. The response has been amazing. Going through all the entries keeps me very busy on most days. There’s a lot of talent out there. I have a love for collaboration. I have done many in the past and that’s why I love the Rap A Verse competition and the collaboration with Jameson was a natural fit.”

Marfleet said: “We partnered with Kwesta not only because he is an award-winning hip hop artist. We were looking for someone who is fearless but humble and understood the value of this collaboration for our consumers. Kwesta is the embodiment of this and he brings a great energy and presence to our campaign and helps to bring our purpose of connecting people to life.”

Marfleet added that the partnership was yielding positive results and that Jameson would continue running similar campaigns after the lockdown.

“We've had an overwhelmingly positive response from both consumers and artists on this campaign and we strive to ensure that we continue to be the go-to brand for entertaining content. The lockdown has given us the opportunity to delve into various entertainment platforms and reassess how we get our brand messaging to our consumer. We will be continuing to host such campaigns in the future as it allows us to reach a greater audience and give people intimate access to the artists they love and are inspired by.”

Lockdown effects on artists and brands

Following the ban on public gatherings, artists and companies were forced to alter their operational behaviour to remain afloat during the pandemic. Kwesta said his business had undergone drastic changes since the beginning of the lockdown.

“It’s been a huge adjustment. Shows have been cut, there’s been a financial shift, we have to be careful about spending money," he said. "But the positive side is that I’ve been recording lots of music. I have a studio in my house and it’s kept me busy and creative.

Asked if online performances would be as popular as now after the lockdown, Kwesta said: “Yes, definitely. It's the way forward for artists. Actually it's the way forward for most people.”

From a marketing perspective, Marfleet said the COVID-19 crisis had pushed the people behind the Jameson brand to think more creatively.

“We've had to change the way in which we traditionally connect with our consumers. As an organisation, we fully believe it is as much our duty as our consumers to ensure we do our part to reduce the spread of COVID-19. The pandemic has made us ensure that we still bring our consumers platforms and campaigns that entertain and drive connections in new and innovative ways, as we wait for when we will be able to safely go out and enjoy a drink together," Marfleet said.

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