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

Who is Nigerian music star Wizkid – and why is he taking over the world?

01 Apr 2022 - 08:59

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The global appreciation of West Africa’s Afrobeats music has grown significantly in the last decade. Afrobeats stars are touring the world, racking up record sales, winning awards and collaborating with big-name international artists.

Wizkid.

In fact, seven of the nine African artists nominated for a 2022 Grammy Award – one of the world’s most sought-after music awards – are West African. Most of these make music driven by Afrobeats sounds.

Afrobeats is a broad, generic term for African contemporary popular music with rhythmic and harmonic influences of West Africa’s highlife and Afrobeat traditions and Euro-American funk and hip-hop.

For the 2022 edition of the Grammy Awards, Nigeria’s Wizkid is nominated twice – for best global music album and best global performance. Wizkid won his first Grammy Award in 2021 for the video of ‘Brown Skin Girl’, a track he made with US superstar Beyoncé.

The 31-year-old stands out as a leading Afrobeats artist from Nigeria whose music has already made a huge sway on the charts of many countries. Wizkid boasts over 32 hits, more than 70 music awards, 50 singles and four albums, as well as sold-out concert performances across Africa, Europe and America. As a result, he commands a fan base of more than 30 million combined followers on Twitter, Facebook and Instagram.

His songs straddle the rhythmic texture of Nigerian pop that connects with West African diaspora communities across the globe. And when it comes to his career, he set his eyes firmly on America and strategically propelled himself to global fame.

Career

Wizkid was born Ayodeji Ibrahim Balogun on 16 July 1990 in Surulere, Lagos State, Nigeria. He started singing and recording music at the age of 11 in a group called the Glorious Five. He joined Empire Mates Entertainment record label in 2009.

The songwriter, singer and performer worked hard in the early days of his music career in Nigeria’s highly competitive industry. In one of his hit songs, Ojuelegba, he narrates his experience at Mo’Dogg studio in Lagos, where he toiled for a better life. He became famous in Nigeria in 2011 after the release of his debut album titled Superstar. The album opened up many more live performance opportunities.

As a young star who foresaw his music travelling beyond Nigeria, Wizkid seized every opportunity to make connections across the music world. For instance, when US R&B star Chris Brown (also famous for allegations of sexual violence against women) performed in Lagos in 2012, Wizkid was with him on stage and subsequently collaborated with Brown on the song African Bad Gyal.

Unlike some other Nigerian popular musicians, Wizkid understood the power of transnational collaboration and worked hard to align his music within the structure and texture of American hip-hop and R&B. In a 2019 interview, he is quoted as saying he did not make music just to be an African superstar.

In 2016, transnational appreciation of his music grew after his collaboration with Drake, the Canadian singer and rapper. It is a popular opinion among Nigerian music analysts and journalists that Wizkid’s collaboration with Drake marked the genesis of his global appeal.

He has since collaborated with top-notch American stars such as Beyoncé, Akon, Lil Wayne, Rick Ross and Nicki Minaj.

Sexism

Wizkid’s music career has not been without controversy. Like many of his contemporaries in the industry, he rose to fame amid worries over objectifying images of women in some of his lyrics and music videos. I have argued elsewhere that sexual objectification of women has been a useful strategy for publicity, and serves as a means of enhancing his social status and commercial viability in the Nigerian popular music industry.

Wizkid is particularly accused of emphasising and objectifying female bodies in the songs In My Bed and Expensive Shit. The public outcry against sexist messages in his music culminated in the banning of In My Bed in 2015, by the Nigerian Broadcasting Corporation. Despite this, his local and international appeal continued to grow.

Pop’s promised land

Wizkid has won more prestigious local and international music awards than any of his Afrobeats peers. He has more than 100 nominations in different categories of music awards. Some of his big wins include Artist of the Year at the 2021 Apple Music Awards, two BET Awards for Best International Act, three Soul Train Music Awards, an MTV Europe awards for Best African Act, three Billboard Music Awards – and that 2021 Grammy.

For Africa, especially Nigeria, America is the popular culture promised land. To make it in America is to conquer the pop world. And a US Grammy is the most cherished music award. Following the global spread of West African migrants that consume and promote Afrobeats, the music will continue to gain more listeners across the world as more people yearn for new sounds from Africa. Likewise, the demography of its global consumers on Youtube and Spotify grows as top record labels – such as Sony and Universal Music – sign up and promote more Afrobeats artists.

Propelled by the growing spread of Afrobeats, Wizkid has achieved global fame through a strategic set of music goals throughout his career – and has boosted his image by courting controversy and big-name collaborators, infusing Western pop with African flavour in the process.

Samson Uchenna Eze is a lecturer at the University of Nigeria. This article first appeared on The Conversation.

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