NEFCISA
NEFCISA

The Music In Africa Foundation (MIAF) is proud to announce 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 launching a new national programme designed to create jobs, address skills gaps, and strengthen 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 will recruit and train participants, match them with host organisations, and place a minimum of 1 000 workers across the country. 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

Chaque année, nous fournissons des informations générales afin de guider les participants dans la préparation de leur voyage. En plus de ce site, des mises à jour importantes seront envoyées par e-mail à tous les délégués inscrits. Assurez-vous de vous inscrire dès que possible. Pour plus d'informations, veuillez contacter [email protected] Continuez à consulter cette page pour plus d'information.  

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

Pour les praticiens et les organisations culturels et créatifs opérant en Afrique australe, l’accès au financement reste un défi majeur. La pandémie de COVID-19 a également eu un impact massif sur les politiques gouvernementales, les dépenses et l’économie en général, et a vu les dépenses consacrées à la culture reléguées plus bas dans la liste des priorités. De plus, les industries culturelles et créatives citent régulièrement quatre domaines principaux où l’investissement est nécessaire pour la croissance : une visibilité accrue, la mobilité incluant l’accès à de nouveaux marchés, le financement et les structures de soutien.

Music In Africa Live
Music In Africa Live

MUSIC IN AFRICA LIVE Lancé en 2020 pour une durée de 3 ans, Music In Africa Live est une initiative visant à soutenir l'écosystème de la musique africaine face aux contraintes imposées par la pandémie de COVID-19 ; le projet a été lancé par la Fondation Music In Africa (MIAF) en partenariat avec le ministère fédéral allemand des Affaires étrangères, Siemens Stiftung et le Goethe Institut. Plus de 30 aides sont disponibles dans le cadre de la troisième édition de Music In Africa Live, dans 3 catégories :  showcases, renforcement des compétences et plaidoyer, en conformité avec les modalités énoncées.

Instrument Building And Repair Project
Instrument Building And Repair Project

The overarching objective of Music In Africa Foundation’s Instrument Building and Repair (IBR) project is to encourage the formalisation and professionalisation of instrument-making and repair in Africa, especially in relation to indigenous African instruments. Background In 2014, the Music In Africa Foundation (MIAF) identified as one of its focus areas for development the need to encourage young people from music and music-related sectors to consider instrument-making as a career. This need extended itself from the recognition that the making of traditional African instruments is not a widely practiced skill and seems to be limited to the older generation. Traditional African instrument makers are also few and far between, making communication and logistics between teachers and learners an obstacle. When instrument building workshops take place, budgetary constraints do not allow teachers or learners the time to explore the finer details of an instrument. Based on these observations, the MIAF designed and piloted the first IBR workshop at the Dhow Countries Music Academy (DCMA) in Zanzibar in February 2015. In 2016, the foundation received funding from the South African National Lotteries Commission to implement a much bigger version of the project in Johannesburg. The project drew participants from five African countries. 25 students from South Africa, Ghana, Senegal, Kenya and Ethiopia were trained on how to build and repair musical instruments. The instruments that they made were: Traditional Instruments: Umakhweyana and Marimba Conventional Instrument: Dulcimer guitar The workshop culminated in a traditional instruments concert at the Wits Theatre in Johannesburg. It is the MIAF’s aim to roll out similar workshops in as many African countries as possible over the next few years. Objectives Developing awareness of musical instrument makers in Africa with a view to promote their work to a wider global audience. Facilitating the sharing and transfer of skills in indigenous instruments between countries on the continent. Encouraging the formalisation and professionalisation of instrument-making and repair in Africa, especially in relation to indigenous instruments. Helping instrument makers develop their careers. Fostering the rapid monetisation and sustainable development of instrument-making and repair in Africa. Promoting constant exchange of ideas, expertise, experiences and know-how among instrument makers in Africa. Facilitating the identification of existing gaps in the field with a view to contribute new solutions. Facilitating the transfer of knowledge and skills of indigenous instruments between younger and older generations. 2020 edition The MIAF has also announced that multi-instrumentalist and instrument maker Joe Makhanza will facilitate one of the workshops on the building of the kamale ngoni instrument. Kamale ngoni is a kora-like, stringed instrument that originated in West Africa. The instrument contributed to the rise of Wassoulou music in the 1970s and 1990s. Makhanza was born in Giyani in South Africa's Limpopo province. He completed a bachelor of music degree and a post-graduate diploma in arts marketing from Wits University. He is currently completing his masters in ethnomusicology and is a part-time lecturer in African music studies at Rhodes University. He plays the kora, mbira, valiha, masenqo, xiwewe, ngoni ba and xizambi, among others. He also manufactures the aforementioned instruments. The MIAF will confirm more trainers who will join the workshops as well as the other instruments that will be featured in the 2020 IBR programme.  Apply to participate here. Connect with us on Twitter, Instagram and Facebook, and subscribe to our monthly newsletter. The Music In Africa Instrument Building and Repair project is funded by the National Lotteries Commission. It is implemented in partnership with Siemens Stiftung, Goethe-Institut, Wits Theatre and Kaya FM.

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Abuja, Nigeria

En service depuis :

2013

Personne de contact:

Chylde

BIO

Eniola Isioma Hashim aka Chylde (pronounced Child) is a Nigerian musician, writer, producer and professional Art Creator who has a repertoire of distinct genres and an amazing vocal range.

Eniola plays the guitar, but sees her voice as her greatest instrument. Chylde is one of a kind versatile artiste, and has something phenomenal for everyone. She started singing and writing songs at the age of 5, but only released her first single; Victorious, a pop song at the age of 15.

From performing at middle school events, she released a music project called ‘Crystal’. After the release of Crystal, Chylde started experimenting with different sounds and accents for her music and thus the afroasian fusion genre was born.

In 2017, she released ‘Unradaroactive’, a moombahton song that was recorded over Alan Walker’s royalty free beat. Notable songs written and performed by Chylde include ‘Unradaroactive, Zone and Clocks, a song she was featured on by Johnny Drille, and Song of our time ft TC Peruzzi.

In 2020, she pioneered a movement called AfroAsian trap with the song Koshi Kuro’, and in March 2021, she released a mini EP called ‘The Lost Files’ a compilation of some of her already released songs. Chylde’s musical influences come from all over the world hence her diverse taste in music and the ability to perform any genre.

A University graduate and a former human resource manager.

EARLY LIFE AND CAREER
Born on the 18th of March, 1997 in Satellite town, Lagos state; Nigeria to prolific journalist/ human rights activist Grace Awodu and former PDP secretary general and 2019 Nigerian presidential candidate Gbenga Olawepo Hashim, Eniola Isioma Hashim is a vocalist, bookwright and painter. She is the second of three children from her mother and the second of seven from her father. Chylde's parents moved to Abuja with her older brother and herself when she was two years old. At this time, the political state of Nigeria was brutal towards human rights activists that spoke up against the government, hence her father had his documents seized by making it hard for them to cope as the family of four relied on her mother for upkeep. After the death of the then head of state; Sani Abacha who had her father's papers seized, he was able to make a name for himself in politics and hence they were able to move to the more urban part of Abuja city. Chylde started singing at the age of five and wrote her first song at six. At this age, her parents got divorced and her mother held custody of the children. She began to draw, sing, write poems braid hair, compose music and repair spoilt electronic devices around the house at the age of eleven. However, a sickly child, Chylde more often than naught spent her time in hospitals and hence found it difficult to catch up with the more social life her mates had. At 9 she joined her elementary school's literary and debate team. She went on to represent her elementary school in the finals against the High school division of the same institution. At 10 she served as the class captain in sixth grade. At age 13, Chylde won a local children's beauty contest. In high school at the age of 14, she won an award for the best vocals in her High school, Thomas Adewumi College. At the age of 15, she released her first single 'Victorious' with the stage name 'Eni' which got a wide number of airplays, criticism, and pending sponsorships including one from the controversial Nigerian musician Charly boy. Months later, she released a trial mixtape featuring her older brother Tedmilez, Uc da great and Peruzzi. At this age, she also wrote the SAT's planning to use her high score of 1620 to study abroad. At the age of 16, she won the high school overall award for the best behaved female student. She went on to study communication in a University inside her country instead. At the age of 16, she published her first book 'insomnia ' under the name 'Eni' which she often uses interchangeably with 'Chylde' for writing, singing and painting. At the age of 17, she began to produce instrumentals and music with the FL studio software. At 19, she opened her first Instagram account and began her series of opening and deleting accounts, using each account as a suicide hotline to reach out to suicidal people. At the age of 20, she won a departmental award for 'most creative student' in the university. At the age of 21, she phoned in for a Saturday radio show at cool FM . Chylde performed at weddings, open events and did off the radar collaborations, having a 'no feature ' policy. At age 21,she released 'Zone' and 'Unradaroactive , Ojo and Binu' at 22. At 22, Chylde released other singles. In July, 2019, she moved from Abuja to Lagos as she had previously done to pursue her music career. The words 'unradaroactive', 'robomalfunctioning' and 'Humanish' are terms Chylde came up with to describe unavailability, instability and 'the art of becoming human'. Chylde is a nature advocate and likes solitude, quietness and being unperturbed. Her music revolves around these topics.

CHYLDE : ORIGINS
CHYLDE : ORIGINS Chylde (a pseudonym for Child) is Eniola Isioma Hashim’s artistic name used because of her fascination with old English and the Wiccan society. A personal acronym for ‘Courage. Had. Your. Lowered. Dreams. Established’, she uses the term as a motto to drive her to accomplish her goals. She falls under the category 'genreless'. However, her predominant genre is Nirasian/ Afroasian trap: a genre she pioneered, seconded by Moombahton; a reggae subgenre with infused dancehall. She raps, sings, writes songs, novels, drama pieces, dances, paints and does comic books, illustrations and voice overs. She also acts, does character development for stories, hairdressing, wig making, perfumery and is a sommelier in practice. She sings in English, Fulfulde (her native language), Hausa, Yoruba, Igbo, French, Japanese, Jamaican Patois, Chinese, Korean and Spanish. Chylde is well versed in the English Language and was raised in a Christian society in Abuja town, Nigeria. Chylde picked up Japanese from the unsubtitled version of Dragon ball Z, an anime she snuck into the living room to watch with her brother when they were children. She went on to learn more about the language from the Japanese learning channel NHK. At 12, she was introduced to a new anime ‘Naruto’ which helped her practice her Japanese better. Chylde is fluent in English, French and Jamaican patois. Chylde is of Nigerian descent with her mother being a Delta Igbo, her father Kebbi Fulani and her father's mother Osun Yoruba. Her first introduction to Language was in English, then French, which she was exposed to during her early years in a French branch of The Redeemed Christian Church of God named 'Maison de la paix' interpreted as 'House of peace'. She started singing in the choir in Maison de la paix at the age of four. Later on, she moved to her father’s frequented church Dunamis where she spent some time in the children’s choir and drama department. As an adolescent, she subsequently joined the Church’s ushering, choir, sanctuary keeping and creativity departments. She joined her high school’s choir team and often led praise and worship and some solo verses during chapel events. She was part of a duo (Vanucci and Eni) which was made up of herself and a close A level student friend at the time. She went on to sign her first record deal “Brickcity entertainment”, (now “1216 street”) at 14 which was owned by her brother Tedmilez (known then by the stage name ‘Scary’) and his best friend Blakes. She released her first single ‘Victorious’ at 15 years which was produced by IQ shotta and mixed and mastered by Sandaz black. However, the credits wrongfully went to TC Peruzzi (now just Peruzzi). From this single she got pending sponsorships from various individuals including Charly Boy. The single trended on twitter causing an unprecedented backlash from her high school. She decided to put music aside and focus on academics. In her final year in high school, she was given an award for the best vocalist in the entire school. In the University, Chylde hardly sang and did more drawings and writing. In her first year at age 16, she published a horror book named “Insomnia”. On holidays in Abuja, she went for shows and performed at wedding events. She also refused a lot of recording deals because at this point she had a good idea of the terrain and what it entailed. She took courses in Entertainment and Perfumery alongside her Communication major. Chylde applied for many jobs before concluding her university to save the stress of unemployment however on getting the appointments, she was always told she was too young for the position or not adequately certified. She sold virtual paintings and did voice overs for money. At 21, she had completed her University education and got a job as a HR manager in a private firm in Abuja. However, this clashed with her service time where she had to work at the National Centre for Arts and culture so she resigned. ‘The Centre was a haven for happy people who just wanted to do music.’ She recorded “Unradaroactive”, “Zone” and some other songs with her producer Dreemboi and put them on Soundcloud. Not wanting publicity yet still reaching out to suicidal people on the social media, she sparked some talk online which led her to delete her internet presence, she would then recreate an account. On each account, she amassed a decent crowd because of her singing, comedy and talk videos and get called on to do shows, features and collaborations. She was reached out to by various Nigerian artistes especially Abuja artistes. However, due to her introverted nature she refused. This caused a backlash of artistes terming her “hot headed and proud” and as always, an instagram account deletion. She went on to delete other social media accounts because of ill informed comments about her father who ran for the 2019 Presidential elections. Offline, she was introduced to The Brains Company by a mutual friend who gave her a show contract which she refused. After her 13th ig account creation which coincided with a performance of her Afro jam. ‘Binu’ at the Presidency, she was invited to work in Lagos by the first Lady’s delegate Mrs Joy Nunieh and given a public honor by doing so. This coincided with Producer Leriq and Dj big N’s requests for her to come and work in Lagos and also, an animation gig, so she moved there when her service was over. She lived with her mother’s younger sister and her family on the mainland in Lagos but all her engagements were on the island and this made things difficult coupled with the change of environment. In Lagos, she started working with Marshall, Mrs Joy’s producer and he engineered Black Sun for her which she decided to use as a basis for her style. After two studio sessions only a week after her arrival at Lagos, Marshall informed Chylde that the studio equipment had already been moved to Port Harcourt, a different Nigerian state which neither of them were pre informed of. They both decided to not let the situation get to them and focus on other things. Everyone who invited her to Lagos suddenly became ‘busy’, earning her six whole months in Lagos. Chylde focused on building a perfume brand with zero funds but some experience from a perfumery course she took in the University. Later on, she was approached by a record label owner for music which she subsequently refused. Due to the Lagos stress, she decided to put all her music work online and ‘disappear’. Her friend Laide helped her put her songs on other music platforms.
In 2020, Chylde started the AfroAsian Trap movement.

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