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

# Africa Soul

Jay K Mulungi’s new single “Onetoloza” deserves hit status

18 Jul 2023 - 14:38

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Many musicians have released great songs that never see the light of day, but this single Onetoloza by Uganda's singer-songwriter Jay K Mulungi really deserves hit status. 

Jay K Mulungi's Onetoloza Art

Jay K Mulungi has released his single titled Onetoloza on all streaming and download platforms across the world. It is his second single as a solo act having been part of the musical duo Undercover Brothers Ug since 2014. The single which came out on Youtube almost a month ago was released worldwide on all major streaming and download platforms on July 15th.

Onetoloza is sung to a woman who keeps the singer spinning and on his toes and doesnt make it clear if she loves him back or not. First of all she refuses to answer eight thousand phone calls made by this man. She doesnt reply to the seven thousand five hundred text messages sent to her by this man. The man even sends eight hundred go-betweeners/emissaries and she refuses to give them a reply. He only keeps wondering why she had given him her phone number if she never wanted to talk to him. The most heartbreaking thing is that after the man has given up on her and is trying to forget about her and move on with his life, she calls to tell him she misses him. It's funny and at the same time I feel for this man because I think she just loves making him toil for her love.

The whole song is filled with exaggeration. Making eight thousand phone calls and every time there is no answer is literary impossible unless you're stupidly and crazily in love like Jay K Mulungi. The same goes for the text messages. Having received no answer on around the tenth call, most people would just chill and move on. And in this era, who sends a go-between? Or maybe I am wrong and people still do, but eight hundred of them? Really?

The singer however uses emphasis on the verses where he asks her why she never listens to him and open up her heart to him. Here you can feel the hurt, the pain in Jay K Mulungi's voice but soon afterwards feel the resolve when he tells her that some times he just gives up and is trying to move on and then boom, she throws another bomb. Well, ofcourse I can relate. I have myself gone through the same experience but I am not a good songwriter and couldn't write a song about it. But Jay K Mulungi's Onetoloza reminds me of it very vividly.

Jay K Mulungi doesnt just stop there but goes on to add more funny parts to the song where he asks the woman to be clear with him or he would take the matters to witchdoctor. This is some kind of ultimatum that someone would think was unnecessary but I find it very funny. Also because he clearly describes this witchdoctor and where he dwells. Is he the best in the witchcraft business? That question comes to my head.

That's enough about the lyrical content and tone. The song's arrangement is also another element to enjoy about the song. Ofcourse the song's intro on the guitar is sweat and memorable, just like the chorus. Each verse is different from another and the outro is another catchy tune that may not get out of your head for a while after listening to it. The song that would have otherwise been a sad song builds in comic elements to make the mood a little bit calmer. Its danceable too.

I think it's a song that everyone should get a chance to hear and enjoy. It shows Jay K Mulungi's writing and singing maturity and clearly shows that he can make it big in the music industry in Uganda and beyond as a solo artist.

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