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

Africa Day virtual concert line-up riles up ‘unrepresented’ Africans

19 May 2020 - 17:04

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The recently announced Africa Day Benefit Concert at Home line-up has been met with mixed feelings by African musicians, critics and fans who are questioning the mix of artists and the countries that will be represented at the virtual event on 25 May.

Burna Boy, Sho Madjozi, Diamond Platnumz and Tiwa Savage will be part of the virtual concert on Africa Day.

The concert is organised by ViacomCBS Networks Africa and YouTube. British actor Idris Elba, who was diagnosed with COVID-19 in April, will host the event, which aims to raise funds to aid African children and families affected by the COVID-19 pandemic.

The much-talked about and publicised event mostly features West African artists. Nigeria tops the list with seven musicians, including Burna Boy, Yemi Alade, Teni, Tiwa Savage, Seun Kuti, Rema and Adekunle Gold. Other artists from West Africa are Stonebwoy (Ghana), M.anifest (Ghana), Toofan (Togo) and Angélique Kidjo (Benin).

East Africa is represented by Diamond Platnumz (Tanzania), Nandi (Tanzania), Sauti Sol (Kenya) and Bebe Cool (Uganda). South African rappers AKA and Sho Madjozi as well as Angola’s C4 Pedro are the featured southern African artists. Fally Ipupa is the only musician from Central Africa, while North Africa has no artists on the bill.

What they said

“It would make sense to involve as many African musicians as possible," Namibian singer Elemotho said. "This day would also not be called Africa Day if we only have artists from one region of such a diverse continent. All this goes to speak about the subject of 'everyone doing for us except ourselves', and in the end as the great Thomas Sankara said, ‘He who feeds you, controls you’. Maybe we should host our own events and thus dictate our terms.”

But Namibian saxophonist Suzy Eises differed with Elemotho. “All the artists on the line-up are globally well-known and more experienced internationally," she said. "I am happy with the line-up. Hopefully on another occasion, they will be able to introduce more exceptional upcoming talent that is not so well-known to help support and promote their music.”

Another Namibian artist, The Dogg, argued that the line-up is a wake-up call for artists to work harder in order to earn recognition. He also said that his country was traditionally excluded from big events. “I just think we need to promote ourselves more to be known to Africa and to the world in general. But it's a shame, because we're always left out,” he said.

Zimbabwean comedian Carl Joshua Ncube gave the organisers the benefit of the doubt, but questioned the criteria used to curate the line-up. He also criticised the graphic design of the poster employed to market the event.

“I would like to assume there were logistical challenges to book acts. However, as someone born on Africa Day, I tend to take these things a little personally. If this is the case, that logistics or budgets were an issue, then I feel their PR should address this. However, if you look at the graphic they used, it felt sad to look at your part of Africa and to see an artist from another country in that place. It’s sad, whatever the reason, that representation is not as inclusive, and we wait to hear their reasons why. They really should explain the process.”

The CEO of Urban Music People Awards in Malawi, Ken Limwame, echoed Ncube’s sentiments: “I don’t know the criteria used to come up with the list, but it would definitely have been great if one Malawian artist was on the line-up.”

But Zambian hip hop artist PilAto sees Africa as one, where borders and nationalities should not be the sole criteria used for an event, especially on Africa Day.

“I hold the view that our Africanness is not expressed by our national borders but by our shared history, values and love for our continent, and our commitment to create a home for all," he said. "The absence of artists from Zambia is not unique and does not in any way imply anything negative either on Zambian artists or the organisers of the event. I honestly do think that with time as this event grows in size and capacity, we will get to see artists from Zambia and other African countries showcasing their art."

Germany-based Zimbabwean journalist and music critic Plot Mhako said: “I think it’s either that MTV Base and YouTube deliberately ignored the artists, or that the artists didn't meet their selection criteria. There is South African and Nigerian representation, which is reflective of the music market domination by these two nations. While we may be justified to complain since the event is meant to represent the continent, and not one or two nations, I think this is a wake-up call for the local artists, that we have not done enough to get our music out there. We need to collectively work and earn the spot.”

Zimbabwean social media commentator and music critic Wellence Mujuru disagreed with Mhako.

“I feel really disappointed with the fact that they have decided to snub Zimbabwe and other countries in general. We risk to paint a picture that only popular countries like South Africa and Nigeria, which are well represented at the concert, are the whole of Africa. We also have big artists in Zimbabwe who are pushing on the international scene. Jah Prayzah had collaborations with some of the artists on the line-up.”

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