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

Reviews

Review: Crazy Tings are happening to Tems

21 Oct 2021 - 14:01

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The genius of Tems’ sound is that she boasts a singular vocal bend that allows her to wheel between deep and high tones with shocking ease. It can be puzzling at first – swathed in echoes of something either grim or idyllic. Is it not the musician herself who sang “my voice is a mystery” on her ‘Replay’ track?

Tems.

And yet, Tems’ voice also boasts a magnetic quality that has now allowed her a seat at the table. Her rapid rise has partly been accelerated by auspicious collaborations, most notably with fellow Nigerian Wizkid and his platinum-certified summer hit ‘Essence’. But it’s her unlikely explorations of R&B, Afrobeats and soul (aka alté) that have secured her crucial global notice in a time when African pop has become the toast of the world. Her unique sonic takes have earned her the audience of international stars like Chris Brown and Drake, who features Tems on his latest album Certified Lover Boy.

To borrow the title of her just-released single off her EP If Orange Was A Place, ‘crazy tings’ are happening to Tems. The record itself is straightforward – a dreamy three-minute soliloquy about a failing relationship that the singer says was “inspired by the crazy, amazing things that have been going on in my life, and it was made in Ghana.”

She sings:

All you do is lie and lie and lie
All you do is try and try and try
You don’t even know the kind of things
But you try to tell me all these things
But don’t you see
You’re not everything
And I know you’re not the one for me.

She resolves that she “can do better” but also concedes that it is not an easy thing to do. Often, where love is involved, the truth comes second to emotions. Crazy things are happening.

Co-written with Ronald ‘GuiltyBeatz’ Banful, who also produced the record, ‘Crazy Tings’ is chauffeured by breezy keys, funky guitars and a bouncy groove, which are quintessential Afro-fusion. “The beat was played to me by GuiltyBeatz and I was surrounded by orange light and alcohol,” Tems recalls. “The vibes just flowed in afterwards.”

Pandemic R&B is themed around concepts of gloom. Like much of If Orange Was A Place, ‘Crazy Tings’ caters to love, albeit the not-so-perfect moments. There’s something about Tem’s voice: a raspy loneliness and overall wounded air that convey sad love songs with troubling sharpness and relatability.

Lyrically, the song may convey a thick sense of emotional confusion. Its video, in contrast, portrays the singer as one who has repossessed herself from the blues. With pep in her step and a smile on her face, she navigates the confusion around her, which expands to include various other forms of social pressure. The video climaxes with Tems front-and-centre at a nightclub, jamming her worries away. Once she’s had enough, she dances her way out, as if to say, “You’re all you’ve got at the end of the day”.

Tems is behind just two EPs – the other being For Broken Ears – and it may be premature to say that she is at the height of her powers. Judging by what an incredible run the singer has had in the past couple of years, there should be little debate that she is well on her way.

Listen to If Orange Was A Place here.

Artist: Tems
Song: Crazy Tings
Label: Since ’93/RCA Records
Year: 2021

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