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ACCES dévoile une programmation exceptionnelle pour son édition 2026

ACCES dévoile une programmation exceptionnelle pour son édition 2026

À Tunis, Jaou fait dialoguer les nouvelles scènes musicales du monde arabe et au-delà

À Tunis, Jaou fait dialoguer les nouvelles scènes musicales du monde arabe et au-delà

Fally Ipupa dévoile « Ami chéri » et « Bonheur parfait », deux extraits de XX Delirium

Fally Ipupa dévoile « Ami chéri » et « Bonheur parfait », deux extraits de XX Delirium

Angélique Kidjo réunit Pharrell Williams et Quavo dans le clip de « Bando »

Angélique Kidjo réunit Pharrell Williams et Quavo dans le clip de « Bando »

SoundCloud permet aux artistes de vendre directement leur musique aux fans

SoundCloud permet aux artistes de vendre directement leur musique aux fans

Appel ouvert : Beyond Music Jams réunit musiciens et professionnels à Johannesburg, Afrique du Sud

Appel ouvert : Beyond Music Jams réunit musiciens et professionnels à Johannesburg, Afrique du Sud

Salif Keïta annule ses concerts en Afrique du Sud pour dénoncer les violences xénophobes

Salif Keïta annule ses concerts en Afrique du Sud pour dénoncer les violences xénophobes

Appel ouvert: Jusqu’à 50 000 € pour soutenir les festivals d’Afrique de l’Ouest

Appel ouvert: Jusqu’à 50 000 € pour soutenir les festivals d’Afrique de l’Ouest

Appel ouvert : CIMFEST 2026 lance un appel aux artistes, DJ et danseurs

Appel ouvert : CIMFEST 2026 lance un appel aux artistes, DJ et danseurs

Angélique Kidjo entre dans l’histoire sur le Hollywood Walk of Fame

Angélique Kidjo entre dans l’histoire sur le Hollywood Walk of Fame

Appel à candidatures : les villes africaines invitées à se porter candidates pour accueillir ACCES en 2027 et 2028

Appel à candidatures : les villes africaines invitées à se porter candidates pour accueillir ACCES en 2027 et 2028

Appel ouvert : le Festival INSTANT TOGO II recherche des programmateurs et diffuseurs

Appel ouvert : le Festival INSTANT TOGO II recherche des programmateurs et diffuseurs

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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Tems shines at 2022 Soul Train Awards

Accueil/Non classé/Tems shines at 2022 Soul Train Awards

Tems, who became Africa’s first nominee to win the category, beat fellow African nominees including CKay and Fireboy DML, as well as US acts Steve Lacy, Coco Jones, Dixson, and Muni Long.

Last year, Wizkid’s global hit ‘Essence’ featuring Tems won the trophy for best collaboration before scooping the Best R&B category at the 2022 American Music Awards just last week. For her effort on Future’s ‘WAIT FOR U’, Tems also triumphed in the Favourite Hip Hop Song category at the ceremony.

Beyoncé was the biggest winner at this year’s Soul Train Awards, taking home the gongs for Best Album, Song of the Year and Best Collaboration.

Below is the full list of winners:

Best New Artist

  • CKay
  • Coco Jones
  • Dixson
  • Doechii
  • Fireboy DML
  • Muni Long
  • Steve Lacy
  • Tems

Certified Soul Award

  • Chaka Khan
  • Charlie Wilson
  • Diana Ross
  • Mary J. Blige
  • Maxwell
  • PJ Morton
  • Ronald Isley & The Isley Brothers
  • T-Pain

Best Gospel/Inspirational Award

  • CeCe Winans
  • Erica Campbell
  • Fred Hammond
  • Major.
  • Marvin Sapp
  • Maverick City Music X Kirk Franklin
  • Tamela Mann
  • Tasha Cobbs Leonard

Best R&B/Soul Female Artist

  • Ari Lennox
  • Beyoncé
  • H.E.R.
  • Jazmine Sullivan
  • Lizzo
  • Mary J. Blige
  • SZA
  • Tems

Best R&B/Soul Male Artist

  • Babyface
  • Brent Faiyaz
  • Burna Boy
  • Charlie Wilson
  • Chris Brown
  • Giveon
  • Lucky Daye
  • PJ Morton

Album of the Year

  • An Evening With Silk Sonic, Silk Sonic (Bruno Mars & Anderson .Paak)
  • Away Message (EP), Ari Lennox
  • Breezy, Chris Brown
  • Good Morning Gorgeous, Mary J. Blige
  • Heaux Tales, Mo’ Tales: The Deluxe, Jazmine Sullivan
  • R&B Money, Tank
  • Renaissance, Beyoncé
  • Special, Lizzo

Song of the Year

  • ‘About Damn Time,’ Lizzo
  • ‘Bad Habit,’ Steve Lacy
  • ‘Break My Soul,’ Beyoncé
  • ‘Good Morning Gorgeous,’ Mary J. Blige
  • ‘Hrs & Hrs,’ Muni Long
  • ‘Last Last,’ Burna Boy
  • ‘Pressure,’ Ari Lennox

The Ashford And Simpson Songwriter’s Award

  • ‘Bad Habit,’ Steve Lacy
  • ‘Break My Soul,’ Beyoncé
  • ‘Church Girl,’ Beyoncé
  • ‘Good Morning Gorgeous,’ Mary J. Blige
  • ‘Hrs & Hrs,’ Muni Long
  • ‘I Hate U,’ SZA
  • ‘Last, Last,’ Burna Boy
  • ‘Pressure,’ Ari Lennox

Best Dance Performance

  • ‘About Damn Time,’ Lizzo
  • ‘Call Me Every Day,’ Chris Brown Ft. Wizkid
  • ‘Have Mercy,’ Chlöe
  • ‘Persuasive,’ Doechii
  • ‘Pressure,’ Ari Lennox
  • ‘Smokin Out the Window,’ Silk Sonic (Bruno Mars & Anderson .Paak)
  • ‘We (Warm Embrace),’ Chris Brown
  • ‘Woman,’ Doja Cat

Video of the Year

  • ‘About Damn Time,’ Lizzo
  • ‘Bad Habit,’ Steve Lacy
  • ‘Good Morning Gorgeous,’ Mary J. Blige
  • ‘Have Mercy,’ Chlöe
  • ‘Hrs & Hrs,’ Muni Long
  • ‘Last Last,’ Burna Boy
  • ‘Pressure,’ Ari Lennox
  • ‘Smokin Out the Window,’ Silk Sonic (Bruno Mars & Anderson .Paak)

Best Collaboration

  • ‘Amazing,’ Mary J. Blige Ft. DJ Khaled
  • ‘Be Like Water,’ PJ Morton Ft. Stevie Wonder & Nas
  • ‘Call Me Every Day,’ Chris Brown Ft. Wizkid
  • ‘Gotta Move On,’ Diddy Ft. Bryson Tiller
  • ‘Hate Our Love,’ Queen Naija & Big Sean
  • ‘Make Me Say It Again, Girl,’ Ronald Isley & The Isley Brothers Ft. Beyoncé
  • ‘Move,’ Beyoncé Ft. Grace Jones & Tems
  • ‘Slow,’ Tank Ft. J. Valentine

Legend Award: The Time

Lady of Soul Award: Xscape

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