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

10 reasons you should (and shouldn’t) care about the MAMAs

31 Oct 2016 - 01:05

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This year's MTV Africa Music Awards (MAMAs) has come and gone, but artists and fans alike are still basking in the glow of that glamorous occasion. 

Wizkid was big winner at the 2016 MAMAs

Ugandan singer Eddy Kenzo lost out on the night and took to Facebook to complain.

Undeniably, the MAMAs is the continent's biggest night for pop artists. The stars gather; they get rewarded; the fans get entertained. If you need to know what's hot on the continent, then there's no better thermometer than the MAMAs.

If you want to know who has sent the fans dancing yearlong, put on your television set on award night. If you want a measure of musical artistry outside of pop, then you must look elsewhere.

Below are 5 reasons why you should care about the MAMAs and 5 why you shouldn't.


Why You should Care

5. You get to know who's hot: The MAMAs is a great place to see who has had hits over the past 12 months. The songs that have made people dance across the continent get their time in the spotlight and are often performed live.


4. You see the biggest names: Artists recognise the reach of MTV, both across the continent and globally. Their management team probably clear up their artist's schedule to keep the date free. It is important to note that even when winning artists are absent, there is often a message recorded by said artists relayed via video.


3. Creative collabos: The MAMAs night brings up interesting partnerships between artists you probably wouldn't expect to work together. Several editions ago the MAMAs gave us 'Kiss Your Hand' by Wande Coal and R2Bees. What was essentially a freestyle tune, became a hit.


2. The sense of unity: On the night, all of the artists belong to all of the fans, irrespective of country or region. Wizkid, for example, may have snubbed Rwandan acts months ago, but when he performed 'Ojuelegba' at this year's edition, he belonged to Nigerians, Rwandans and whoever else was watching live or via television.


1. Reward for hard work: There are arguments always about who has won and who hasn't, but generally the guys who climb on that podium have put in some work during the preceding 12 months.


Why You Shouldn’t Care Too Much

5. It is a commercial enterprise: MTV is a commercial entity. This means the business comes first; the show comes next and is linked to the business anyway. Art on any level is a distant consideration at the MAMAs. If the music cannot be seen to have a direct path to huge profit, then it doesn't get to the MAMAs. That is why the focus is on pop music.


4. It is an SA-Nigeria ceremony: The nature of entertainment on the continent puts a lot of power in the hands of South Africa and Nigeria. One has direct ties with the global music industry; the other has a huge population. Together they dominate the proceedings in culture. Together they dominate the MAMAs every year. Smaller countries have no real chance of crashing the party going on at the high table.


3. Artists to be considered must show on MTV Base: For a music award, the MAMAs put quite a premium on videos. And that is because the award is tied to a television channel. As one of its top-ranked officials said last year, "We don't feel comfortable judging music that doesn't show on our channel."


2. Elsewhere the MTV Awards are secondary: MTV was launched in 1981 in the US. The first MTV Video Music Award ceremony was held three years later. Michael Jackson, Beyoncé, Madonna—all the big names—have several VMAs. Yet when accomplishments are noted, it is the Grammys first in line. Perhaps because it's a continent not a country like the US, Africa has no Grammy equivalent—the KORA Awards came close but may have damaged its own brand with controversy. The All Africa Music Awards (AFRIMA) is still young.


1. The MAMAs don't have a Best Album award: It may not be as dominant as it was, but the album remains relevant. In many cases, it holds the key to an artist's legacy. Because of the emphasis on videos, the MTV Africa Music Awards favours the single. A body of work takes time and gets no love from MTV. It is possible African acts see the MAMAs as a place for exposure, not artistic merit. Perhaps fans too should come to see it as such.


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